Sonntag, 9. Oktober 2016

09.10., Johnnie Bassett, O. V. Wright, Ronnie Barron, Mike Stevens, Pat Hunter, Ignaz Netzer, Jim Boyd * Rosetta Tharpe, Klaus Renft, 'Sista Monica' Parker, Paul "Wine" Jones +

 



1935 Johnnie Bassett*
1939 O. V. Wright*
1943 Ronnie Barron*
1943 Peter Palus „Pete“ Cosey*
1957 Mike Stevens*
1965 Pat Hunter*
1969 Charlie Furthner*
1973 Rosetta Tharpe+
2005 Paul "Wine" Jones+
2006 Klaus Renft+
2014 'Sista Monica' Parker+
Ignaz Netzer*
Jim Boyd*

 

Happy Birthday

 

Johnnie Bassett  *09.10.1935



Johnnie Bassett and his band performing at the Great Lakes Folk Festival in 2006


Johnnie Bassett (* 9. Oktober 1935 in Marianna, Florida; † 4. August 2012 in Detroit) war ein US-amerikanischer Blues- und Jazz-Musiker (Gitarre, Gesang) und Songwriter, der in Detroit als „Gentleman of the Blues“ bezeichnet wurde.[1]

Bassett kam 1944 mit seiner Familie nach Detroit; während seiner Schulzeit an der Northwestern High School bekam er von seinem Bruder seine erste Gitarre. Als Jugendlicher trat er in Talentshows, Theatern und Nachtclubs mit seinem Schulfreund Joe Weaver auf, die gemeinsame Band nannten sie Joe Weaver & The Blue Notes. Eine erste Schallplatte entstand im Hinterraum eines Schallplattenladens in der Hastings Street; der Song 15:40 Special erschien auf dem Label Deluxe, später bei King Records. Mitte der 1950er Jahre hatten Bassett and the Blue Notes ein Engagement in der Frolic Showbar in der Basin Street East, wo sie auch Gelegenheit hatten, die R&B-Sängerin Dinah Washington zu begleiten. Ende des Jahrzehnts war er als Sessionmusiker für Smokey Robinson & the Miracles tätig, außerdem für das Detroiter Label Fortune Records. Er spielte in Detroit auch mit John Lee Hooker, Little Willie John und Nolan Strong.[1]

Nach Ableistung des Militärdienstes lebte Bassett Anfang der 1960er Jahre in Seattle, wo er auch dem jungen Jimi Hendrix begegnete. Anfang der 1990er Jahre spielte er mit R. J. Spangler, mit dem er 1991 auf dem Montreux Detroit Jazz Festival gastierte. Zusammen gründeten sie die Formation Blues Insurgents.[2] Erst in den Jahren vor seinem Tod hatte er Gelegenheit für weitere Aufnahmen; für das Label Sly Dog nahm er 2009 das Album The Gentleman is Back auf, mit einer Coverversion von der Ray Charles-Nummer Georgia On My Mind. Kurz vor seinem Tod Anfang August 2012 im Detroiter St. John Hospital erschien noch sein Album I Can Make That Happen.

Johnnie Alexander Bassett (October 9, 1935 – August 4, 2012) was a Detroit-based American electric blues guitarist, singer, and songwriter. Working for decades primarily as a session musician, by the 1990s Bassett had his own backing band and released seven albums in his lifetime. He cited Billy Butler, Tiny Grimes, Albert King, B.B. King and especially T-Bone Walker as major influences.[2]

Biography

Born in Marianna, Florida,[3] Bassett relocated with his family in 1944 to Detroit.[2] As a guitarist in his local group, Joe Weaver and the Bluenotes, they won talent contests, and locally backed Big Joe Turner, and Ruth Brown. In 1958, Bassett enrolled into the United States Army, but on his return to Detroit worked with the Bluenotes as session musicians for Fortune Records.[2][4] During this time he provided accompaniment to Nolan Strong & The Diablos and Andre Williams.[2] He later backed The Miracles in a short tenure at Chess Records, working on their debut single, "Got a Job" (1958).[2][5][6][7] In concerts while in Detroit, Bassett played on stage alongside John Lee Hooker, Alberta Adams, Lowell Fulson and Dinah Washington.[2]

Basset spent most of the next decade doing gigs in Seattle, also backing Tina Turner and Little Willie John.[2]

The Detroit Blues Society recognized Bassett's contribution to the blues with a lifetime achievement award in 1994.[5] He released the album I Gave My Life to the Blues on the Dutch label Black Magic in 1996, before recording and touring in North America and Europe with his own backing band, the Blues Insurgents.[2] Their 1998 album Cadillac Blues was nominated for five W.C. Handy Awards.[5] His then record label, Cannonball Records ceased to trade, but Mack Avenue Records signed him to a new recording contract, after its owner saw Bassett and his band play in concert in Detroit's suburb of Grosse Pointe.[5]

At the 2003 Great Lakes Folk Festival, Bassett performed as part of the Detroit Blues Revue with Alberta Adams and Joe Weaver.[8] At the 2006 Detroit Music Awards, Bassett won the 'Outstanding Blues/R&B Instrumentalist' title. In both 2010 and 2011, he was awarded the 'Outstanding Blues Artist/Group' title.

Bassett's album, The Gentleman is Back was released in June 2009. In 2010, it won a Detroit Music Award for 'Outstanding National Small/Independent Label Recording'.

Bassett and his band (Chris Codish – keyboards, Keith Kaminski – saxophone, and Skeeto Valdez – drums) played weekly at the Northern Lights Lounge in Detroit.

He died of cancer on August 4, 2012.




Johnny Bassett "Cadillac blues



https://www.youtube.com/watch?v=mLvt_9jExd8


Johnnie Bassett and The Brother's Groove at Dylan's 









Pat Hunter  *09.10.1965

 


My Career was launched in 2004 by the late great bluesman Sam Taylor. My first cd, “Life Lesson’s”, debuted in 2005. It remained a staple on over 200 radio stations here in the states, and on many European stations including Harry Van Valet’s, Finger Popping soul! And Joust Van Steen's Jazz and Blues Tour!
Recently, my song “Ask Your Man” from the Life Lessons CD has had resurgence as part of an Jomar Records compilation CD, entitled “National Woman in Blues”.
Currently, I am working with international recording artist, Steve Cochran on my follow up CD “Walk in My Shoes”. Each show is a true " Happening" . Blues, Funk,Soul& "EVERYTHANG" in between!



Pat hunter Project 3 Las Olas Blues Fest 2013 










Mike Stevens  *09.10.1957

 


Mike Stevens is a harmonica virtuoso who has been involved in a variety of excellent musical projects, including prolific releases under his own name. Although other harmonica players have played the Grand Old Opry, Stevens is about the most far-out player to ever grace that stage. He was pretty seriously playing the harmonica by age 16, but didn't really get into bluegrass until the early '80s when he played with the band Blackwell Sideroad. It would turn out to be the genre where this Canadian player would make his reputation, including the sought-after trophy of work and acceptance in the country music headquarters south of the border. He worked with groups such as Whitewater Bluegrass and Lost & Found, sometimes fighting the resentment of bluegrass purists who trust nothing that doesn't have strings attached to it.
When he began working with legendary Grand Ole Opry members Jim & Jesse, the critical tide turned. Stevens logged more than 300 Opry performances backing up these wonderful McReynolds boys, during a time when he fine-tuned his playing abilities. Whatever advantages the harmonica may have in portability as opposed to, say, an electric bass outfit, is lost in respectability since the instrument is rarely seen as an essential in a group. Unless, of course, the individual blowing the harp develops virtuoso chops, in which case any kind of band will put the harp out front. This is the kind of playing ability Stevens developed, with the eventual result that he has turned his harmonica into something of a skeleton key, opening the doors to as many genres as there are rooms in the haunted Winchester mansion. Opry übermensch Roy Acuff was such a fan of the harmonica player that his regular presence in the wings for not other purpose other than watching Stevens has been noted as unusual. The harmonica player also performed on the Nashville-based music network TNN and has performed live throughout his native Canada, the United States, the Bahamas, Mexico, and Japan. He has won awards as the Canadian Entertainer of the Year at the Central Canadian Bluegrass Awards for five consecutive years. He only stopped winning after that because he was officially retired in this category in order to give someone else a chance. Which is fine with Stevens, who is an enthusiastic supporter of his instrument and up-and-coming players as well. His book, Bluegrass Harmonica, published in 2000 by Hal Leonard, is one of the best publications about how to blow up a storm on this little instrument since Tony Glover came up with his superb Blues Harmonica. His Pinecastle Blowin' Up a Storm was one of the best-selling bluegrass recordings in 1992. In 1994, he was made a "Kentucky Colonel," the highest honor given by the State of Kentucky for his accomplishments in bluegrass.
1998 is seen as a year of enormous development for Stevens. He formed a new band, called the Mike Stevens Project, and with the recording Normally Anomaly presented a soup of influences equal parts bluegrass, Delta blues, Balinese Gamelan, and strongly Arabic in rhythmic conception. The recording also featured solos in which Stevens utilized electronic processing equipment and samplers to create complex harems of harmonica lines. The diversity of his playing interests has of course led to a wide variety of playing contexts, the circles broadening like ripples from a stone tossed in the water. He continues to play bluegrass dates with Jim & Jesse, the Lewis Family, and the McLains among others. He performs solo harmonica concerts in which many of his different interests get playing time. He also works in a duo setting with innovative bluegrass-based Raymond McLain, and tours with the Mike Stevens Project group, highlighting the kind of rocking blues which have always been a comfortable place for the harmonica. Yet he shows no signs of standing still in that realm, and in 2000 released The World Is Only Air, a collection of original and traditional Canadian fiddle tunes played on the harmonica. There are very few musicians who have taken on this challenging repertoire on the harmonica for the simple reason that it constitutes an incredibly difficult technical feat. The rave reviews for this album indicate that Stevens was more than up to the task at hand. He also picks up a variety of random calls to provide harp sweetening to other artists' recordings or live dates, including a pretty regular presence in Nashville studios. In 2001, director Brian White completed Harmonica Crossing, a film portrait of Stevens.


Mike Stevens & Raymond Mclain - 2007 - Orange Blossom... 










O. V. Wright  *09.10.1939

 


Overton Vertis "O. V." Wright (October 9, 1939 – November 16, 1980)[1] was an American singer who is generally regarded as a blues artist by African American fans in the Deep South; he is also regarded as one of Southern soul's most authoritative and individual artists.[2] His best known songs include "That's How Strong My Love Is" (1964), "You're Gonna Make Me Cry" (1965), "Nucleus of Soul" (1968), "A Nickel and a Nail" (1971), "I Can't Take It" (1971) and "Ace of Spades" (1971).
Biography
Born in Lenow, Tennessee, Wright, as a youngster, began singing in the church. In 1956, while still in high school, he joined The Sunset Travelers as one of the lead singers for the gospel group.[3] He later fronted a gospel music group, the Harmony Echoes. It was during this time that he was discovered (along with James Carr) by Roosevelt Jamison a songwriter and manager. Their first pop recording in 1964 was "That's How Strong My Love Is," a ballad later covered by Otis Redding and the Rolling Stones. It was issued on Goldwax, the label Wright signed to after leaving his gospel career. It was later determined that Don Robey still had him under a recording contract, due to his gospel group having recorded for Peacock. After his contract was shifted to Don Robey's Back Beat label, further R&B hits followed. Working with record producer Willie Mitchell, success continued on songs including "Ace of Spades" and "A Nickel and a Nail".
Wright's hits were much more popular in the deep South. His biggest hits were "You're Gonna Make Me Cry" (R&B #6, 1965), "Eight Men, Four Women" (R&B #4, 1967) "Ace of Spades" (R&B #11, 1970), "A Nickel and a Nail" (R&B #19, 1971). The remainder of his 17 hits charted no higher than #20 on the R&B charts.
However, Wright was imprisoned for narcotics offenses during the mid-1970s, and, despite signing for Hi Records and releasing a series of recordings, his commercial success failed to recover after his release. A continuing drug problem weakened his health and he died from a heart attack, in Mobile, Alabama at age 41.[1]
Legacy
Wright is among the most remembered voices of soul music, perhaps mostly for being sampled frequently in hip hop music. In 1996, his song, "Motherless Child" was sampled on the Ghostface Killah album Ironman on a song also called "Motherless Child." It and another Wright recording, "Let's Straighten It Out" have been published on Shaolin Soul, a compilation of tracks that have been sampled by the Wu Tang Clan and its members. "Let's Straighten It Out" was sampled in a Wu-Tang Clan song called "America" from the charity compilation album America Is Dying Slowly. "Ace of Spades" was sampled by Slim Thug and the Boss Hogg Outlawz on a song named "Recognize A Playa".
Wright has been a big influence on many Soul and Blues singers including Robert Cray,[4] Otis Clay,[5] Taj Mahal[6] as well as young Soul singer Reggie Sears[7] among many others.
Johnny Rawls joined Wright's backing band in the mid-1970s, and played together with Wright until the latter's death in 1980. The band then continued billed as the O.V. Wright Band for another 13 years, and toured and performed with other musicians over this time span. These included B.B. King, Little Milton, Bobby Bland, Little Johnny Taylor, and Blues Boy Willie.[8]



O. V. Wright - Today I sing the blues 











Ignaz Netzer  *09.10.

 


Ignaz W. Netzer wurde in Wangen/Allgäu geboren.
Später wurde er Buchhändler, noch später Schulungsleiter in der freien Wirtschaft und ganz spät unterrichtete er über 10 Jahre an einer staatlichen Realschule die Fächer Deutsch, Englisch, Geschichte ....
Schon sehr früh spielte er Blues. Das macht er noch heute.
13 Schallplatten/CDs gehen auf sein Konto.
Er ist und bleibt stolz darauf, mit folgenden (neben den bereits erwähnten) KollegInnen die Bühne geteilt zu haben (kein Anspruch auf Vollständigkeit):
Werner Acker, Ray Austin, Champion Jack Dupree, Alexis Korner, The Holmes Brothers, Gerhard Polt, Bobby Rush, Lubos Andrst, Jaromir Helesic, Louisiana Red, Klaus Weiland, Wolle Kriwanek, Little Willie Littlefield ....
Aufgewachsen in der gutbürgerlichen Häuslichkeit einer Steuerberaterdynastie, umgeben von der inspirierenden Musikalität voralpenländlerischer Trachtenkapellen, ergänzt durch Klänge Catarina Valentes und Vico Torrianis aus dem wohnzimmerlichen Plattenspieler, entstand sehr bald die ungewisse Vorstellung, dass es zumindest in musikalischer Hinsicht noch etwas anderes geben müsse.
Bestätigt wurde diese Vorstellung eines Tages durch seltsame Klänge aus Omas Radio. Ignaz behielt nur die Namen „Lightnin`Hopkins" und „Brownie Mcghee" in Erinnerung, wußte aber nicht was das war, allerdings sehr wohl, dass es das war. Chronisch bluesinfiziert.
Es gibt keine Zufälle im Leben. In derselben Stadt gab es noch einen Bluesinfizierten, im selben Alter. Robert Kirchmayer, nie mit Ambitionen auf eine Profi-Karriere, ist für Ignaz bis heute einer der größten Bluesgitarristen. Die beiden „Blues brothers" waren bald unzertrennlich, und sah man den einen in Wangen mal alleine, so wußte man, der andere war nicht weit entfernt. Die Gitarre und Blues Harp waren immer dabei.
Es gab zu dieser Zeit keine Lehrer für diese Musik, so gut wie keine Literatur und im ganzen Allgäu keine einzige Bluesplatte zu kaufen. Dieser Kauf wurde in München besorgt, der Weg dorthin (entgegen den Versprechungen an die Eltern) nicht per Zug sondern trampender Weise erledigt. Das gesparte Fahrtgeld reichte locker für zwei Bluesscheiben, und jede neue Bluesscheibe war eine neue – wunderbare und faszinierende – Welt.
Gitarrenlicks von der Platte abzuhören und nachzuspielen war möglich, das selbige Verfahren gelang auch für die Harp. Doch wer sollte mit den Bluestexten helfen??? Was sangen die da?? Kein Englischlehrer sprang in die Presche, konnte man als verantwortlicher Pädagoge solch zweifelhaftes Unterfangen mit dieser unanständigen Musik unterstützen? Man mußte als Lehrer ja nicht zugeben, dass man die Texte selber nicht verstand.
Es blieb die harte Methode: Stundenlanges Abspielen ein und desselben Songs, Aufsaugen jeder Silbe, jedes Ächzens. Son House wurde so aber nicht langweilig. Vielleicht beantwortet diese Methode teilweise die Ignaz Netzer am häufigsten gestellte Frage: „Wie kommt man eigentlich zu solch einer Stimme?"
Makingblues
1970 gründeten Robbe Kirchmayer und Ignaz Netzer ihre erste Band „Firma Kischke", eine astreine Chicago-Blues Band mit Klaus Roggors am Piano (später einziger „studierter" Musiker der Band, Komponist von Kinofilmen und manchem „Tatort") und Franz Werder (dr), die Bassisten variierten.
1971 erolgte das erste Konzert, bis Mitte der achtziger Jahre folgten viele weitere.
1984 erschien die LP „Nix als the Blues".
Bereits zu dieser Zeit schrieb Ignaz Netzer Songs auch in seiner schwäbischen Mundart; das korrekte Schriftdeutsch ist ihm – wie Lästerzungen behaupten – trotz zweier Staatsexamen in Germanistik bis heute nicht ganz geläufig. Oder um es etwas ernsthafter zu formulieren: Jeder Dialekt bietet unendlich viele Möglichkeiten, innere Seelenzustände auszudrücken. Und schließlich ist jeder Songtext Ausdruck eines inneren Seelenzustandes.
1978, zwischenzeitlich längst in Freiburg angekommen, traf Ignaz auf den Liedermacher Dirk Sommer. Aus der Zusammenarbeit mit ihm stammen die beiden LPs „Schnappschuss" und „Durschd" (1981 u. 1983). Bluesiger war die Begegnung mit dem faszinierenden britischen Musiker Gerry Lockran, einem der Mitbegründer der englischen Bluesszene. Gemeinsame Konzerte führten durch Deutschland, Belgien und Holland. In diese Zeit fällt auch das Zusammenspiel mit dem amerikanischen Sänger und Gitarristen Richard Murphy.
Eine folgenschwere Begegnung bahnte sich an. Ignaz traf den ebenfalls allerschwerst bluesinfizierten schwäbischen Landsmann Thomas Scheytt. Nach einer äußerst knapp gehaltenen ersten Probe und einem Repertoire von höchstens 2 ½ Stücken sollte ein kurzer Auftritt in Albstadt-Ebingen folgen. Auf dieser Bühne entstand ein abendfüllendes Programm und die beiden formierten sich zum „Oldtime Blues & Boogie Duo", heute kurz „Netzer/Scheytt".
Bis heute entstanden aus dieser Zusammenarbeit die 3 CDs „Trouble In Mind" (1989), „Live Again" (1999) und „Drowning In The Blues" (2001, u.a. mit Barbara Dennerlein, In-Akustik).
2001 gewann das Duo den Audience Award (Publikumspreis für die beliebteste und beste Band) beim SWR Hot Jazz Festival im Europa-Park Rust. Ein Jahr zuvor waren Netzer/Scheytt als Experten für Blues eingeladen zur 24stündigen TV-Marathonsendung über die Geschichte des Jazz. Bei der Session (übertragen am 1. Januar 2001 auf 3 sat) spielten sie spontan erstmals mit Barbara Dennerlein. Die drei geben bis heute gemeinsame Konzerte.
Die Fachpresse feiert das Duo als „Großmeister des klassischen Blues" (Jazz Podium).
Die Süddeutsche schreibt: „Sprengen die Grenzen des europäischen Bluesfeelings.
Woher die beiden soviel schwarze Emotionalität nehmen bleibt ein Rätsel."
Das Jazz Podium widmet Ignaz Netzer als erstem Bluesmusiker ein ganzseitiges Interview.
Mit dem Duo „Making Blues" geht für Ignaz ein kleiner Wunschtraum in Erfüllung. Das Wort „Making" beeinhaltet ein Wortspiel: Das „M" steht für Mundharmonika, „A" für Albert, „K" für Koch, „I" für Ignaz, „N" für Netzer und „G" für Gitarre. Natürlich widmet sich auch dieses Duo auf eigenwillige Weise dem alten Blues, ebenso viel Raum nehmen aber andere Stilistiken oder Eigenkompositionen ein, so. z.B. Netzers Anti-Neonazi-Song „Brown Monkeys" oder Stücke mit 2 Harps wie der „Two Harps Boogie". Zudem bietet die Zusammenarbeit mit einem Harp-Spieler für einen Gitarristen viel Freiräume. Von Making Blues gibt es die CD „Police Dog Blues" aus dem Jahr 2002.
Aus dem Duo wird 2002 unter Einbezug von Harald Krüger (voc,p) das Trio „KrüNetzKo". Harald Krüger, der sympathische Musiker aus Speyer, ist ein perfekter Entertainer mit großer Bühnenpräsenz. Seine Vorliebe ist der
Rock `n Roll und so wird das Markenzeichen von „KrüNetzKo" neben der für jedermann ersichtlichen Spielfreude von Krüger/Netzer/Koch eine bunte, aber in sich stimmige Mischung von Blues, Boogie-Woogie und Rock`n Roll.
2003 erschien von „KrüNetzKo" die CD „Gospel Ship".
Back to the roots – dies ist das Motto von Netzers jüngster Formation, dem „Basic Blues Trio".
Frontfrau ist die aus Chicago stammende und mehrfach preisgekrönte Jean Carroll (voc), eine der ganz wenigen noch lebenden authentischen Blues-Ladies. Pianist dieses Trios ist der kongeniale Christian Rannenberg.
„Basic Blues Trio" veröffentlichte 2004 die Maxi-CD „The Blues Is Allright".
Ignaz Netzer & Thomas Scheytt - it must have been the devil 
"My Blues Is My Castle" by Ignaz Netzer & Thomas Scheytt.
Live at Burg Stettenfels.
Ignaz Netzer: vocals, guitars, Blues harp


https://www.youtube.com/watch?v=PLpYDK0ArGo 












R.I.P.


Rosetta Tharpe  +09.10.1973

 

 

Sister Rosetta Tharpe (* 20. März 1915 in Cotton Plant, Arkansas als Rosetta Nubin; † 9. Oktober 1973 in Philadelphia) war eine US-amerikanische Gospel-, Jazz- und Blues-Sängerin und Gitarristin.
Sie war erst sechs Jahre alt, als sie mit ihrer Mutter Katie Bell Nubin nach Chicago zog, um dort zu singen. In Kirchen war sie sonntags zu hören; nebenbei lernte sie Gitarre. Bald wurde sie „Little Sister“ genannt.
1934 heiratete sie Reverend Thomas A. Thorpe, von dem sie sich bald scheiden ließ – dessen Nachnamen sie, leicht verändert zu Tharpe, als Künstlernamen nutzte. 1938 nahm sie einige Gospelsongs auf Schallplatte auf. Im selben Jahr wurde sie für Cab Calloways berühmte Cotton Club Revue in Harlem engagiert. Sie machte Aufnahmen mit Calloway und mit Lucky Millinders Big Band. Sie trat dann in Nachtclubs auf, entschied sich aber für den Gospel-Markt, nahm Duette mit Marie Knight wie auch mit ihrer Mutter, Katie Bell Nubin auf.[1]1938 trat sie am 23. Dezember in John Hammonds berühmten Konzert From Spiritual to Swing in der Carnegie Hall auf. Ihre Popularität war so groß, dass sie als einer von zwei Gospelacts während des Zweiten Weltkriegs V-Discs für die amerikanischen Überseetruppen aufnahm.[2] 1944 legte sie sich den Namen „Sister Rosetta Tharpe“ zu, und wurde fortan zu einer der herausragendsten Stimmen der Geschichte des Gospel-Musik. Ihre Hitsingle This Train verwendete Willie Dixon als Vorlage für den Song My Babe, der ein großer Hit für Little Walter wurde.
In ihrem Gospelstil stecken Jazz, Blues und Rock ’n’ Roll. Einzigartig ihre Selbstbegleitung auf der Gitarre, teils im Slide-Gitarrenstil. Ein kurzer Auftritt von ihr wird in dem Spielfilm Die fabelhafte Welt der Amélie gezeigt. Nach dem Zweiten Weltkrieg ließen ihre Erfolge immer mehr nach, sie hörte aber nie auf, Platten aufzunehmen oder Konzerte zu geben. Nach einem Schlaganfall 1970 musste sie kürzertreten, arbeitete aber auch weiterhin als Musikerin bis zu ihrem Tod am 9. Oktober 1973 in Philadelphia.
Vermächtnis
Elvis Presley nahm Songs von Rosetta Tharpe auf, und auch Johnny Cash und Tina Turner[3] nannten sie als musikalischen Einfluss. 1998 gab die US-Post eine Briefmarke mit ihrem Bild heraus. 2003 wurde das Album Shout, Sister Shout: A Tribute to Sister Rosetta Tharpe veröffentlicht, auf dem unter anderen Maria Muldaur, Odetta und Marcia Ball Songs der Künstlerin interpretierten.[4] Der 11. Januar 2008 wurde vom Gouverneur von Pennsylvania zum Sister-Rosetta-Tharpe-Day erklärt, um die Gospelsängerin zu ehren.[5]
2007 wurde Sister Rosetta Tharpe in die Blues Hall of Fame aufgenommen.

Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973) was an American singer, songwriter, guitarist and recording artist. A pioneer of twentieth-century music, Tharpe attained great popularity in the 1930s and 1940s with her gospel recordings that were a unique mixture of spiritual lyrics and rhythmic/early rock accompaniment. She became gospel music's first crossover artist and its first great recording star, referred to later as "the original soul sister" and "the godmother of rock and roll".[1][3][4][5] She was an early influence on figures such as Little Richard, Johnny Cash, Elvis Presley and Jerry Lee Lewis.[6][4]

Willing to cross the line between sacred and secular by performing her music of "light" in the "darkness" of the nightclubs and concert halls with big bands behind her, Tharpe pushed spiritual music into the mainstream and helped pioneer the rise of pop–gospel beginning with her 1939 hit "This Train".[1] Her unique music left a lasting mark on more conventional gospel artists such as Ira Tucker, Sr. of the Dixie Hummingbirds. While she offended some conservative churchgoers with her forays into the pop world, she never left gospel music.

Tharpe's 1944 hit "Down By The Riverside" was selected for the American Library of Congress National Recording Registry in 2004, with the citation stating that it captured her "spirited guitar playing" and "unique vocal style", which were an influence on early rhythm and blues performers, as well as gospel, jazz, and rock artists.[7] ("Down By The Riverside" was actually recorded by Tharpe on December 2, 1948, in New York City, and issued as Decca single #48106.[8]) Her 1945 hit "Strange Things Happening Every Day", recorded in late 1944, featured Tharpe's vocals and electric guitar, with Sammy Price (piano), bass and drums. It was the first gospel record to cross over, hitting no. 2 on the Billboard "race records" chart, the term then used for what later became the R&B chart, in April 1945.[9][10] The recording has been cited as an important precursor of rock and roll.[6] Tharpe has been called the Godmother of Rock n' Roll.[11]

Childhood and early career

She was born Rosetta Nubin in Cotton Plant, Arkansas, United States, to parents Katie Bell Nubin and Willis Atkins, who were cotton pickers. Little is known of her father, although it is known that he was a singer. Tharpe's mother, Katie Bell Nubin, was a singer, mandolin player, evangelist and preacher for the Church of God in Christ (COGIC), which was founded by a black Baptist bishop named Charles Mason in 1894, who encouraged rhythmic musical expression, dancing in praise and allowing women to preach in church. With the encouragement of her mother, Tharpe began singing and playing the guitar as 'Little Rosetta Nubin' from the age of four and was cited as a musical prodigy.[1][2][3]

By age six, Tharpe had joined her mother as a regular performer in a traveling evangelical troupe. Billed as a "singing and guitar playing miracle," Tharpe accompanied her mother in hybrid performances—part sermon, part gospel concert—before audiences all across the American South.[2]

In the mid-1920s, Tharpe and her mother settled in Chicago, Illinois, where the duo continued to perform religious concerts at the COGIC church on 40th Street while occasionally traveling to perform at church conventions throughout the country. As a result, Tharpe developed considerable fame as a musical prodigy, standing out in an era when prominent black female guitarists remained very rare. In 1934, at the age of 19, Rosetta Tharpe married a COGIC preacher named Thomas Thorpe, who had accompanied her and her mother on many of their tours. Although the marriage only lasted a short time, she decided to incorporate a version of her first husband's surname into her stage name, Sister Rosetta Tharpe, which she would use for the rest of her career.[2] In 1938, Tharpe left her husband, and with her mother, moved to New York City. Although she had more than one marriage, she performed under the name of Tharpe for the rest of her life.

Recording career

On October 31, 1938, at age 23, Tharpe recorded for the first time – four sides with Decca Records backed by Lucky Millinder's jazz orchestra.[12] The first gospel songs ever recorded by Decca, "Rock Me," "That's All," "My Man and I" and "The Lonesome Road" became instant hits, establishing Tharpe as an overnight sensation and one of the first commercially successful gospel recording artists.[2] She had signed a seven-year contract with Reminder and was managed by Mo Galye. Her records caused an immediate furor: many churchgoers were shocked by the mixture of gospel-based lyrics and secular-sounding music, but secular audiences loved them.

Tharpe's appearances with jazz artist Cab Calloway at Harlem's Cotton Club in October 1938 and in John Hammond's "Spirituals to Swing" concert at Carnegie Hall on December 23, 1938, gained her even more fame, along with notoriety. These performances, which both shocked and awed the crowds, were controversial as well as revolutionary in several respects. Performing gospel music in front of secular, 'nightclub' audiences and alongside blues, jazz musicians and dancers was highly unusual, and within conservative religious circles the mere fact of a woman performing guitar music, particularly in those settings, was frowned upon. For these reasons, Tharpe was often falling out of favour with segments within the gospel community.[2][13] Other late 1930s hits, such as her self-penned "This Train" and "Rock Me", which combined gospel themes with bouncy up-tempo arrangements, continued to become hits among audiences with little previous exposure to gospel music.

It has been suggested Tharpe had little choice in the material she was contracted to record with Millinder. "Rosetta and Millinder were increasingly at odds in 1943, as Rosetta itched to quit the big-band circuit and renew her career as a strictly gospel act. As Roxie Moore remembers, she hadn't wanted to do light fare poking fun at old-time religion or worldly material like "Tall Skinny Papa", but found herself bound by contractual obligations."[14] Her nightclub performances initially led to her being ostracised by some in the gospel community, as she would sometimes be required to sing her gospel songs amid scantily clad showgirls.[13] She played on a number of occasions with the white singing group The Jordanaires.[11]

Tharpe continued recording during World War II, one of only two gospel artists able to record V-discs for troops overseas. Her song "Strange Things Happening Every Day", recorded in 1944 with Sammy Price, Decca's house boogie woogie pianist, showcased her virtuosity as a guitarist and her witty lyrics and delivery. It was the first gospel song to make Billboard's Harlem Hit Parade (later known as Race Records, then R&B) Top Ten. This achievement was something that Sister Rosetta Tharpe accomplished several more times in her career. This 1944 record has been credited by some as being the "First rock and roll record".[15] Tharpe toured throughout the 1940s, backed by various gospel quartets, including The Dixie Hummingbirds.

In 1946 Tharpe saw Marie Knight perform at a Mahalia Jackson concert in New York. Tharpe recognized a special talent in Knight. Two weeks later, Tharpe showed up at Knight's doorstep, inviting her to go on the road. They toured the gospel circuit for a number of years, during which they recorded hits such as "Up Above My Head" and "Gospel Train".[16] Tharpe was so popular that she attracted 25,000 paying customers to her wedding to her manager Russell Morrison (her third marriage), followed by a vocal performance, at Griffith Stadium in Washington, D.C. in 1951.

Their popularity took a sudden downturn, however, when they recorded several blues songs in the early 1950s. Knight attempted afterward to cross over to popular music, while Tharpe remained in the church, but rebuffed by many of her former fans. In 1957, Tharpe was booked for a month-long tour of the UK by British trombonist Chris Barber.

In April – May 1964, at the height of a surge of popular interest in the blues, she toured Europe as part of the Blues and Gospel Caravan, alongside Muddy Waters and Otis Spann, Ransom Knowling and Little Willie Smith, Reverend Gary Davis, Cousin Joe, and Sonny Terry and Brownie McGhee. Tharpe was introduced on stage and accompanied on piano by Cousin Joe Pleasant.[17] Under the auspices of George Wein, the Caravan was stage-managed by Joe Boyd.[18] A concert, in the rain, was recorded by Granada Television at the disused railway station at Wilbraham Road, Manchester in May 1964. The band performed on one platform while the audience members were seated on the opposite platform.

Later life and death

Tharpe's performances were curtailed by a stroke in 1970, after which she had a leg amputated as a result of complications from diabetes.[19] On October 9, 1973, the eve of a scheduled recording session, she died in Philadelphia as a result of another stroke. She was buried in Northwood Cemetery in Philadelphia, Pennsylvania.[20]

Later recognition

A resurgence of interest in Tharpe's work has led to a biography, several NPR segments, scholarly articles, and honors. The United States Postal Service issued a 32-cent commemorative stamp to honor Tharpe on July 15, 1998.[21] In 2007, she was inducted posthumously into the Blues Hall of Fame. In 2008, a concert was held to raise funds for a marker for her grave, and January 11 was declared Sister Rosetta Tharpe Day in Pennsylvania.[22] A gravestone was put in place later that year,[23] and a Pennsylvania historical marker was approved for placement at her home in the Yorktown neighborhood of Philadelphia.[23] The PBS series American Masters featured her story in the opening program of their 2013 season.[24] BBC Four aired an hour-long documentary by Mick Csáky, The Godmother of Rock & Roll: Sister Rosetta Tharpe, on March 20, 2015.[25]

Musical influence

Musically, Tharpe's unique guitar style blended melody-driven urban blues with traditional folk arrangements and incorporated a pulsating swing sound that is one of the first clear precursors of rock and roll.[2]

Little Richard referred to the stomping, shouting, gospel music performer as his favorite singer when he was a child. In 1945, she heard Richard sing prior to her concert at the Macon City Auditorium and later invited him on stage to sing with her; it was Richard's first public performance outside of the church. Following the show, she paid him for his performance, which inspired him to become a performer.[26] When Johnny Cash gave his induction speech at the Rock n Roll Hall of Fame, he referred to Tharpe as his favorite singer when he was a child. His daughter Rosanne similarly stated in an interview with Larry King that Tharpe was her father's favorite singer. Tharpe began recording with electric guitar in the 1940s, with "That's All", which is cited to have been an influence on Chuck Berry and Elvis Presley.[2] A number of other musicians, including Aretha Franklin, Jerry Lee Lewis,[6] and Isaac Hayes have identified her singing, guitar playing, and showmanship as an important influence on them. She was held in particularly high esteem by UK jazz/blues singer George Melly. Tina Turner credits Rosetta Tharpe besides Mahalia Jackson as an early musical influence on her. Performers including Meat Loaf, Neil Sedaka and Karen Carpenter have attested that Tharpe influenced their diverse styles through the rhythmic energy she emanated in her performances, especially the "Chorlton Chug" riffs (something especially noticeable in Carpenter's drum fills.)[27] Even today, artists such as Sean Michel have credited her influence with the performance of gospel songs in more secular venues.

Brixton band Alabama 3 named a track after Sister Rosetta on their debut album Exile on Coldharbour Lane (1997), as well as recording a version of her song "Up Above My Head". In 2007, UK indie rock band The Noisettes released the single "Sister Rosetta (Capture the Spirit)" from their album What's the Time Mr. Wolf? Also in 2007, singers Alison Krauss and Robert Plant recorded a duet version of the song "Sister Rosetta Goes Before Us", written by Sam Phillips. Phillips released her version of the song on her 2008 album, Don't Do Anything. Michelle Shocked opened her live gospel album ToHeavenURide (2007) with "Strange Things Happening Every Day", along with a tribute to Tharpe.

In 2001, the French film Amélie included a scene showing the protagonist's house-bound neighbor mesmerized by a montage of video clips which featured a performance of "Up Above My Head" by Tharpe.

In 2014 the Canadian film Félix et Meira included about one minute of Tharpe singing "Didn't it Rain" from the video of Tharpe's 1964 concert at the Wilbraham Road railway station.

Rosetta Tharpe - This Train


https://www.youtube.com/watch?v=jOrhjgt-_Qc 








Klaus Renft  +09.10.2006

Klaus Renft (* 30. Juni 1942 in Jena als Klaus Jentzsch; † 9. Oktober 2006 in Löhma) war ein deutscher Musiker. Er wurde in der DDR vor allem durch seine Bands Butlers und Klaus Renft Combo bekannt. Sein Künstlername Renft war der Geburtsname seiner Mutter.
1957 erste Auftritte mit der Schülerband „Kolibri“. Im Jahre 1958 gründete Renft mit einigen Freunden in Leipzig die „Klaus Renft Combo“. Sie bestand bis zum Auftrittsverbot 1962 und wurde daraufhin in „The Butlers“ umbenannt. 1963 legte Klaus Renft die Facharbeiterprüfung als Möbeltischler ab. Am 1. März 1964 gab es den ersten offiziell erwähnten Auftritt der „Butlers“. Im gleichen Jahr erhielt die Band beim Deutschlandtreffen der Jugend eine Auszeichnung. Bereits 1965 wurde den populären „Butlers“ jedoch aufgrund ihres westlichen Stils diesmal ein „unbefristetes Spielverbot“ ausgesprochen. Das geschah zeitgleich zum Verbot vieler anderer Bands in Leipzig, was die in dieser Form einmalige Leipziger Beatdemonstration auslöste.
Ab 1967 durfte die „Klaus Renft Combo“ nach ihrem Verbot wieder öffentlich auftreten, seit 1971 waren auch Rundfunkaufnahmen möglich.
Ihre Songs, deren Themen häufig von staatlicher Repression (Ketten werden knapper) handelten oder vielschichtig/zweideutig waren, wie (Zwischen Liebe und Zorn, Ermutigung, Nach der Schlacht) hinterfragten das durch die Staatsmacht vorgegebene Bild. Die Jugendlichen verstanden sehr wohl die enthaltenen Metaphern. Daher geriet die bereits 1964 unter dem Decknamen „Wanderer“ geführte Band verschärft ins Visier der Staatssicherheit. Neue Musikaufnahmen wurden ab 1974 nach ihrem Song Aber ich kanns nicht verstehen ( Platz 2 bei der „NBI-Beatparade“) nicht mehr zugelassen.
Im September 1975 wurde die Klaus Renft Combo erneut verboten. Die Musiker beschwerten sich beim damaligen Kulturminister der DDR, Hans-Joachim Hoffmann. In der Folgezeit entstanden heimliche Aufnahmen wie die Ballade vom kleinen Otto, welche eine mögliche Republikflucht zum Inhalt hatte oder das Lied Glaubensfragen das zum Thema Bausoldat ein staatliches Tabu ansprach.
Ende Oktober 1975 verlor Renft seine Zulassung durch das Kulturministerium. Er besuchte darauf den Regimekritiker Robert Havemann und gab persönlich am 8. Dezember 1975 einen Brief an Erich Honecker ab. Zeitgleich erscheint im Spiegel ein Artikel zur Band und ihrer Situation.[1]
Nachdem am 15. Januar eine Vorladung durch den Rat des Bezirkes Leipzig erfolgt war, stellte er im April 1976 einen Ausreiseantrag. Im Mai reiste er durch Heirat mit seiner griechischen Freundin aus und lebte im Anschluss in West-Berlin. Mehrere Versuche, musikalisch wieder Fuß zu fassen, unter anderem mit der Gruppe Windminister, misslangen. Olaf Leitner, Rundfunkmoderator beim RIAS, verschaffte Renft einen Job als Musikredakteur beim Sender. 1981 wechselte er an das Renaissance-Theater, wo er bis 1990 als Inspizient und Tonmeister tätig war. Am 20. Juli 1981 wurde Renft die DDR-Staatsbürgerschaft aberkannt.
Nach der friedlichen Revolution in der DDR kehrte Klaus Renft zurück und trat ab 1990 wieder gemeinsam mit der „Klaus Renft Combo“ auf, die weiterhin auf eine treue Fangemeinde zählen konnte. Dennoch gelang es ihr wie vielen anderen DDR-Bands nicht mehr, an die früheren Erfolge anzuknüpfen. 1996 musste er die Band wegen interner Differenzen vorübergehend verlassen. Ab März 1998, zu den Jubiläumskonzerten „40 Jahre Klaus Renft Combo“ trat er wieder gemeinsam mit seinen Weggefährten aus den 1970er Jahren auf.
Bereits im Oktober 2000 musste sich Renft einer Chemotherapie wegen einer Darmkrebserkrankung unterziehen, die 2000 diagnostiziert worden war. Er erholte sich zunächst und arbeitete wieder intensiv als Musiker. Doch im Sommer 2005 stellten die Ärzte bei ihm einen neuerlichen Tumor fest, an dessen Folgen er in der Nacht zum 9. Oktober 2006 auf dem Weg in die Klinik verstarb. Seine Urne wurde am 21. November 2006 auf dem Leipziger Südfriedhof beigesetzt.
The Klaus Renft Combo is a veteran German rock band, formed in Leipzig, in what was then East Germany, in 1958. Founded by Klaus Renft, the band enjoyed significant success in East Germany until banned by the authorities in 1975. The band was reunited in 1990.


Renft - Gänselieschen Live in der Kongresshalle Leipzig 1972 





Klaus Renft Combo (2006)


https://www.youtube.com/watch?v=dc03Av2XZJE#t=13 


YouTube - Renft - Apfeltraum (Live 1972) 


https://www.youtube.com/watch?v=QiunUYfjiLY#t=42 








'Sista Monica' Parker  +09.10.2014

 



Monica Parker, the exuberant longtime Santa Cruz blues/gospel singer known internationally by her stage name "Sista Monica," died Thursday in Modesto. She was 58.
The former U.S. Marine and longtime tech-industry recruiter had been diagnosed with stage 4 lung cancer in July. In 2003, she had been diagnosed with a rare form of cancer called synovial sarcoma and was, at that time, told she had three months to live.
At the time of her first diagnosis, Parker was at the height of her career as a performer specializing in Chicago blues and Southern African-American gospel. Her burgeoning popularity in blues festivals up and down the West Coast had led to success across the country and, indeed, into Europe where she had traveled and performed widely. She had, in fact, just returned from a 21-city tour of Europe when she was diagnosed with cancer the first time.
"When I look back 10 years later," she said in 2013, "it was a combination of a lot of things that brought me through that — being raised singing gospel music in the church by a grandfather who was a Baptist preacher and by a mother with a strong constitution. I was also my military background that gave me the intestinal fortitude to stick through the whole experience, and, of course, my walk with faith."
In a video message announcing the return of her cancer posted Sept. 1 on Facebook, she said, "I want you all to know that I have some amazing plans and God has amazing plans for me." At the time of her death, she was writing a book, working on songs for a new recording and making plans for a one-woman theatrical performance.
Sista Monica won multiple awards for her charismatic stage performances, including the Santa Cruz County Artist of the Year, and the Gail Rich Award for excellence in the arts, as well as a number of blues awards. She recorded 11 albums of contemporary blues, soul and gospel, including a live recording of her European tours.
For all her success as a performer, she didn't come to it until her mid-30s.
"She had sung a little in choirs," said her older brother Barrington Parker. "But the time came when she just dared herself to follow her heart."
It was in the early 1990s when she saw Stanley Burrell, a former neighbor in Fremont, on TV's "Arsenio Hall Show" performing as rap star M.C. Hammer.
"She figured if he could do it, she could do it," said Barrington Parker.
Monica Parker grew up in Gary, Indiana, south of Chicago, where she was a regular at her local church every Sunday. She joined the Marines Corps after high school and returned to the Chicago after her service to start a business as a motivational speaker. It was in that role that she was hired at a seminar to speak on the subject of following one's dreams an aspiring talk-show host named Oprah Winfrey.
Parker moved to Santa Cruz in the early 1990s where she worked as a corporate recruiter for Yahoo and other Silicon Valley firms. That was also the time that she started from scratch as a performer, hiring a band to be named the Essentials, working up some blues songs and meeting a producer and sideman named Danny B. In a couple of years, she was well-known in Santa Cruz and an in-demand headliner at West Coast and Bay Area blues festivals. By the end of the '90s, she was playing around the world.
In recent years, to safeguard her health, Parker cut back on the touring and deepened her commitment to her faith. She started a 40-voice choir called the Sista Monica Gospel & Inspirational Choir, an ecumenical group, which she referred to as a "ministry," consisting of Catholics, Jews, Protestants, Buddhists and others.
Her approach to her music changed too. Before her 2003 diagnosis, Parker was very much in the mold of indomitable women singing blues as a testament against pain and struggle, such as Koko Taylor or Etta James. In the last 10 years, her approach has been softer and more wide-angle, trying to be more nakedly emotional in her recordings and live performances.
"I've always carried the banner for strength and power," she said in 2004. "But when something like (cancer) happens, the wind gets knocked out of you. Of all the values that I've had, the value I feel strongest now is compassion."
Sista Monica Parker
Born: April 27, 1956, Gary, Indiana
Died: Oct. 9, 2014, Modesto
Military service: U.S. Marine Corps
Occupation: Corporate recruiter for many Silicon Valley firms
Career: Accomplished blues and gospel singer and band leader, working in festivals and concerts around the West Coast, the U.S. and in Europe. She had released 11 recordings and was named Santa Cruz County Artist of the Year in 2005 and winner of the Gail Rich Award for excellence in the arts in 2000. 


Sista Monica Parker -I'm A Woman 









Paul "Wine" Jones  +09.10.2005

 



Paul "Wine" Jones (July 1, 1946 – October 9, 2005) was an American contemporary blues guitarist and singer.[1]
One commentator noted that Jones, R. L. Burnside, Big Jack Johnson, Roosevelt "Booba" Barnes and James "Super Chikan" Johnson were "present-day exponents of an edgier, electrified version of the raw, uncut Delta blues sound.
Jones was born in Flora, Mississippi, and learned to play guitar by the age of four.[1] In his teens he played at house parties, and later worked with James "Son" Thomas and harmonica player Willie Foster.[3] However, Jones played music mainly as a pastime, while working on farms up to 1971, when he became a welder in Belzoni, Mississippi.[1]
In 1995 and 1996, Jones performed outside of Mississippi, when he was a member of Fat Possum's "Mississippi Juke Joint Caravan".[1][3] His 1995 debut album, Mule, was produced by the music critic Robert Palmer.[1] On the album he was accompanied by drummer Sam Carr, and guitarist Big Jack Johnson.[1] Fat Possum (an independent record label in Oxford, Mississippi), as well as managing the latter careers of Junior Kimbrough and R. L. Burnside, gave opportunity to a number of amateurs, mostly from rural Mississippi, who had seldom or never recorded before. Some, such as T-Model Ford and Asie Payton, moved on to higher billing, but others such as Jones, were left on the sidelines.[3]
Jones died of cancer, at the age of 59, in Jackson, Mississippi, in October 2005.




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