1910 T-Bone Walker*
1936 Charlie Daniels*
1937 Graham Bond*
1939 Bobbie Mercy Oliver*
1962 Fran Zosha*
1965 Earl Bostic+
1969 Ben Harper*
Thomas Middendorf *
Happy Birthday
Ben Harper *28.10.1969
Benjamin Chase Harper (* 28. Oktober 1969 in Claremont, Kalifornien) ist ein US-amerikanischer Musiker und Komponist.
Aufgewachsen in der Wüste, verbrachte er als Junge seine Zeit beim Skaten mit Freunden. Später arbeitete er zunächst als Briefträger und reparierte dann Gitarren.
Schon mit sechs Jahren begann Harper Gitarre zu spielen. Dabei wurde er stark von seiner Mutter und seiner Großmutter beeinflusst, die beide ebenfalls Gitarre spielen konnten, sowie auch von seinem Vater, einem Percussionisten. Dies ermöglichte ihm schon frühzeitig eine musikalische Entwicklung. Zu den Einflüssen in Harpers Musik gehören Folk, Blues und Reggae. Besonders begeisterten ihn Jimi Hendrix und Bob Marley, den er bei einem Konzert im Juli 1978 in Burbank (Los Angeles County) sah.[2]
Im Alter von 17 Jahren erhielt Ben Harper eine Bottleneck Slide-Gitarre (Weissenborn). Seine frühesten Auftritte hatte er im LA Circuit mit Blues-Nummern. Dadurch wurde er 1993 entdeckt und unterschrieb einen Plattenvertrag bei Virgin. Sein selbst produziertes Debütalbum legte den Grundstein seiner Karriere. Zusammen mit seiner Band, den Innocent Criminals, begann Harper 1994 eine lange Tournee durch Nordamerika und Europa, wodurch seine Bekanntheit und Beliebtheit stetig stiegen.
In den folgenden Jahren wurden weitere Alben veröffentlicht. Harpers Musikstil änderte sich, und Elemente von Gospel, Country, Jazz und Funk flossen in seine Musik ein.
Harper veröffentlichte auch ein Duett mit der brasilianischen Sängerin Vanessa da Mata, "Boa Sorte/Good Luck". In dem gemeinsam verfassten Lied singt da Mata den Text auf Portugiesisch, Ben Harper auf Englisch. Der Titel wurde Nummer eins der brasilianischen und portugiesischen Hitparaden und in Brasilien zudem 2008 mit dem bedeutenden Preis Prêmio Multishow de Música Brasileira als "bestes Lied" ausgezeichnet. Im selben Jahr gründete er auch die Band Relentless7.[3]
Ben Harper spielte auf der Video-CD „Flake“ die Slide-Gitarre seines Kollegen Jack Johnson und arbeitete an dessen CD „Sing-A-Longs and Lullabies“ mit. Außerdem gibt Harper mit seinem langjährigen Freund des Öfteren gemeinsame Tourneen.
Im Februar 2010 gründeten Ben Harper, Dhani Harrison und Joseph Arthur die Band Fistful of Mercy. Das Debütalbum As I Call You Down erschien im Oktober 2010.[4]
Auf dem Nightwatchman-Album World Wide Rebel Songs aus dem Jahr 2011 erscheint Ben Harper als Gastmusiker im Song Save the Hammer for the Man. 2013 nahm er zusammen mit dem Bluesmusiker Charlie Musselwhite das Album Get Up! auf. Es wurde bei den Grammy Awards 2014 als bestes Bluesalbum ausgezeichnet. Im Frühjahr desselben Jahres erschien ein Album mit Kindheitsreminiszensen unter dem Titel Childhood Home, das Ben zusammen mit seiner Mutter Ellen Harper aufgenommen hatte.
Harper war von 2000 bis 2010 mit der US-Schauspielerin Laura Dern (u.a. Jurassic Park und Die Lust der schönen Rose) liiert und hat mit ihr eine Tochter (* 24. November 2004) und einen Sohn (* 21. August 2001). Das Paar heiratete 2005. Im Oktober 2010 reichte Harper wegen "unüberbrückbarer Differenzen" die Scheidung ein.[5]
Soziales Engagement
Harper trat beim Benefiz-Konzert „Change Begins Within“ der David Lynch Foundation for Consciousness-Based Education and World Peace am 4. April 2009 in der Radio City Music Hall, New York City, u.a. mit Paul McCartney, Ringo Starr, Donovan, Sheryl Crow, Eddie Vedder und Moby auf. Mit den Konzerteinnahmen will die Stiftung sozial benachteiligten Kindern die Möglichkeit geben, Transzendentale Meditation zu erlernen.
Ben Harper (born October 28, 1969) is an American singer-songwriter and multi-instrumentalist. Harper plays an eclectic mix of blues, folk, soul, reggae and rock music[2] and is known for his guitar-playing skills, vocals, live performances, and activism.[3] Harper's fan base spans several continents.[4] His albums have been commercially successful in North America, Europe and Oceania. Harper is a three-time Grammy Award winner as well, winning awards for Best Pop Instrumental Performance and Best Traditional Soul Gospel Album, in 2005. He also won a Grammy for Best Blues Album in 2014.
Early life
Harper was born in Pomona, California.[1] His father, Leonard, was of African-American and Cherokee ancestry, and his mother, Ellen Chase-Verdries, is Jewish. His maternal great-grandmother was a Russian-Lithuanian Jew.[5][6][7] His parents divorced when he was five years old, and he grew up with his mother's family. Harper has two brothers, Joel and Peter.
Harper began playing guitar as a child.[8][9] His maternal grandparents' music store The Folk Music Center and Museum laid a foundation of folk and blues for the artist, complemented by regular patrons Leonard Cohen, Taj Mahal, John Darnielle, and David Lindley and quotes of William Shakespeare and Robert Frost made often by his grandfather.[10]:5
In 1978, at the age of 9, Harper attended reggae superstar Bob Marley's performance in Burbank, California (joined by former bandmate Peter Tosh in the encore, thus making it a sort of historical performance), which was according to Harper an important influence.[11] At the age of 12, Harper played his first gig.[12] During the 1980s, in his teen years, Harper began to play the slide guitar, mimicking the style of Robert Johnson. Harper refined his style, taking up the Weissenborn slide guitar.[10]:11 Harper broke out of the Inland Empire after being offered an invitation by Taj Mahal to tour with the artist. They recorded Taj Mahal's album Follow the Drinking Gourd, released in November 1990, and toured Hawaii.[10]:13
Career
In 1992, Harper recorded the LP Pleasure and Pain with Folk multi-instrumentalist Tom Freund. After this limited edition record, Harper secured a lifetime record deal with Virgin Records,[13] which released his debut album, Welcome to the Cruel World in 1994. This allowed him to be invited at the Rencontres Trans Musicales of Rennes in France in December 1993 where he went up for the first time on a large stage. The first album was followed by Fight For Your Mind in 1995, with Juan Nelson on bass, which became a college radio favorite and included several songs that Harper still plays live regularly.[14]
In 1999, at the Santa Barbara Bowl, Harper met Jack Johnson and sent a demo tape of Johnson's songs to his producer, J.P. Plunier, who then produced Johnson's first album.[15]
Early in Harper's career, his music received more attention in Europe and was widely played in Australia (first on Triple J radio). Harper has made comments on a number of occasions that his career was kicked off in Australia. While he was a well-known and respected figure in the United States, he was a star in countries like Australia, New Zealand, France, Portugal, Germany, Switzerland and the Netherlands, receiving a great deal of airplay and critical acclaim. His popularity in Europe is such that he was French Rolling Stone magazine's Artist of the Year (Artiste De L'Année) in 2003,[16] and his Australian tour that year for Diamonds on the Inside was highly successful.
In 2002, Harper was one of the featured singers covering Motown hits by Marvin Gaye in the documentary, Standing in the Shadows of Motown (a history of The Funk Brothers). In October 2004, Harper participated in the Vote for Change concert tour organized to benefit Moveon.org and encourage people in the swing states to vote during the 2004 U.S. presidential election. In the same month, Harper contributed a live recording of the song "Oppression" to For The Lady, a benefit album for jailed Nobel Peace Prize winner and Burmese pro-democracy advocate Aung San Suu Kyi. In 2006, Harper released the double album Both Sides of the Gun which debuted at #7 on the Billboard charts. Though uncredited, he appears briefly in the 2006 David Lynch film Inland Empire, alongside his wife Laura Dern.
Harper is part of the No Nukes group which is against the expansion of nuclear power. In 2007 the group recorded a music video of a new version of the Buffalo Springfield song "For What It's Worth".[17][18] Harper's collaboration "Boa Sorte/Good Luck" with Brazilian singer Vanessa da Mata peaked at #1 in Brazil and Portugal. In Brazil it also won a highly coveted Prêmio Multishow for "Best Song" in 2008. Also in 2008, Harper participated in the benefit album Songs for Tibet.
On August 27, 2010, it was reported that Ben Harper had formed a band called Fistful of Mercy with Dhani Harrison and Joseph Arthur.[19] Fistful of Mercy released their debut record, As I Call You Down, on October 5, 2010.[20]
On May 17, 2011, Ben Harper's official site posted that his next album was released, entitled Give Till It's Gone. The album is a continuation of recording with Relentless7.[21]
On October 1, 2012, a new album from Ben Harper with Charlie Musselwhite was announced entitled Get Up! on Stax Records / Concord Music Group. The official release date for the album is January 29, 2013. Get Up! was recorded in Los Angeles and produced by Ben Harper. It is Ben's 12th studio album and first new recording since 2011's Give Till It's Gone (Virgin).[22]
In December 2012, it was announced that Ben Harper had co-produced lead vocalist Natalie Maines of the Dixie Chicks first solo rock album Mother.[23] It was released on May 7, 2013.[24]
In early 2015, it was announced that Ben Harper and The Innocent Criminals would perform at the Boston Calling Music Festival in May 2015.[25] It's been confirmed that Ben Harper and The Innocent Criminals will perform at Rock Werchter Festival 2015 on June 28, 2015 .[26]
Personal life
In 1996, Harper married his first wife, Joanna.[27] They have two children together, son Charles (born circa 1997) and daughter Harris (born circa 2000).[27] Harper and Joanna separated in 2000, and were divorced in 2001.[27]
Harper began dating actress Laura Dern after they met at one of his concerts in fall 2000.[27] Harper and Dern married on December 23, 2005 at their home in Los Angeles.[28] They have two children,[1] son Ellery Walker (born August 2001)[27] and daughter Jaya (born November 2004).[29] In October 2010, Harper filed for divorce from Dern, citing irreconcilable differences.[30] They briefly reconciled and attended the 2012 Golden Globe Awards together,[30] but Dern reactivated the divorce by filing a legal response in July 2012.[30] The divorce was finalized in September 2013.[31]
Harper married his third wife, social advocate Jaclyn Matfus, on January 1, 2015.[32]
Philanthropy
Harper supports Little Kids Rock, a national nonprofit organization that works to restore and revitalize music education in disadvantaged U.S. public schools. In 2013, he donated items to their San Francisco Bay Area benefit concert.
Awards and nominations
Year Award Show Award/Nomination
2003 Rolling Stone (France) Artist of the Year
2005 Grammy Award Grammy Award for Best Pop Instrumental Performance
2005 Grammy Award Grammy Award for Best Traditional Soul Gospel Album
2014 Grammy Award Grammy Award for Best Blues Album
Bobbie Mercy Oliver *28.10.1939
http://www.mytexasmusic.com/bobbiemercyoliver/
Bobbie Mercy Oliver was born in Atlanta Texas on October 28, 1939. His parents were share croppers and his father played guitar. Bobbie formed his first band during his high school years. After graduating he moved to the Windy City (Chicago) and formed a band consisting of his sister Mary, bass guitar and his wife Cleo on drums. Bobbie was doing three things, playing guitar, harmonica and vocals. Bobbie is the composer of three CD'S, Reviving the Blues, Mississippi Mudd and his new cd, Simply Bobbie, May 2006. Bobbie has performed on numerous stages with talents as Willie Clayton during the annual Pittsburg, Texas blues fest, the first annual T-Bone Walker blues festival in Linden, Texas with musicians such as Keb Mo, Kenny Wayne Sheppard, Dee Dee Williams, and Betty Lewis, Whitey Johnson & more. He has performed on the same show with Marvin Sease, Tops from Dallas, Texas. The water-melon festival,Hope, Arkansas for the four years. The Sabine Valley Blues Hawaii for the fourth year. Bobbie has played on Beale Street and the famous Wild Bill Club in Memphis, TN. He competed in the Battle of the Bands in Helena, Ar. in 2004 and the Battle of the Bands in Texarkana, AR (September 2006). He also played in Galveston when hurricane Ivan was threatening Galveston. This year,2010, Bobbie did mimi tours beginning in Little Rock, AR (Juanita's),. The Cornerstone Pub & Grill. The next stop was Chicago,IL, where he sat in with the Jimmy Barne's band at Legendary, Buddy Guy's Legends. The next stop was Clarksdale, MS(Ground Zero) sat in with the house band. Back to Little Rock,AR for the competition for the IBC in Memphis 2011. Bobbie did his One Man Band Act and came in second place. The next stop was Antone's in Austin,TX where again he sat in with the house band. The next stop was back to Memphis to sit in with the band, the next day he sat in with the Fred Sanders Blues band at W C Handy Park. The next towns will be San Antonio,Memphis and Austin,TX.
http://www.reverbnation.com/bobbiemercyoliverjamcityrevue
http://bobbiemercyoliver.com/about/
HIGHWAY 61 BY BOBBIE MERCY OLIVER!
Charlie Daniels Geb. 28.10.1936
Charles Edward „Charlie“ Daniels (* 28. Oktober 1936 in Wilmington, North Carolina) ist ein US-amerikanischer Country-Musiker. Sein größter Hit ist der grammy-prämierte Song The Devil Went Down to Georgia aus dem Jahr 1979.
Anfänge
In seiner Jugend spielte Daniels Fiddle und Gitarre in diversen Bands. Mit 21 beschloss er, professioneller Musiker zu werden und spielte in einer Rock-Band, die sich Jaguars nannte. Die Band wurde nicht sehr bekannt, schaffte es aber, eine Platte mit dem Produzenten Bob Johnston, einem späteren Kopf von Columbia Records, aufzunehmen. Sein erster Erfolg war sein Song It Hurts Me, der 1964 als B-Seite einer Single von Elvis Presley erschien.
In den späten 1960ern ging Charlie Daniels nach Nashville, um als Studiomusiker zu arbeiten. Er spielte auf diversen Alben von Bob Dylan wie Nashville Skyline, Self Portrait und New Morning, auch wurde er Mitglied von Leonard Cohens Liveband.
Die 70er Jahre
Daniels, der sich zeit seines Lebens sehr stark mit den US-amerikanischen Südstaaten und deren konservativen Werten identifizierte, aber auch von der Kultur der Hippies beeinflusst war, fühlte sich zu der ab 1969 entstehenden Musikrichtung des Southern Rock hingezogen, zu deren anerkanntesten Protagonisten er gemeinsam mit den Allman Brothers und Lynyrd Skynyrd werden sollte. 1970 nahm er sein erstes Soloalbum, Charlie Daniels, auf.
1972 gründete er die Charlie Daniels Band. Daniels spielte Leadgitarre, Geige und sang. Mit in der Band waren Don Murray (Gitarre), Bassist Charlie Hayward und Schlagzeuger James W. Marshal, an den Keyboards Joe DiGregorio. 1973 hatte die Band ihren ersten Hit mit dem Song Uneasy Rider vom zweiten Album Honey in the Rock (1972). 1974 veröffentlichten sie Fire on the Mountain mit dem Hit Texas. Das Album kam in die Top 40 und bekam Goldstatus. Ein weiter Hit für Daniels war The South Is Gonna Do It Again, eine Hymne auf den Southern Rock und das Lebensgefühl der Südstaaten. 1976 folgte das Album Saddle Tramp - auch diese Platte schaffte Gold. Während der 1970er Jahre wurde die Charlie Daniels Band eine der wichtigsten Protagonisten des Southern Rock. 1974 organisierte er das erste von mehreren Volonteer-Jam-Konzerten, bei denen Southern-Rock-Musiker auftraten.
In den späten 1970ern, als Southern Rock an Popularität verlor, wandte sich die Musik der Band mehr und mehr in Richtung Country, die Geige wurde zu Daniels Markenzeichen. Sie bestimmt auch Daniels' größten Hit, The Devil Went Down to Georgia (1979). Der Song erreichte Platz 1 der Country-Charts und Platz 3 der Pop-Charts. Von der Country Music Association (CMA) wurde der Song zur Single des Jahres ernannt. Das Folgealbum Million Mile Reflections wurde mehrfach mit Platin ausgezeichnet.
Ab den 80er Jahren
Der Erfolg von The Devil Went Down to Georgia wurde von Charlie Daniels nie wieder erreicht, auch wenn die Band einige andere Hitsingles hatte, wie In America, Long Haired Country Boy, Still in Saigon und The Legend of Wooley Swamp. Die Platten Full Moon und Windows (1980 und 1982) bekamen Gold- und Platinauszeichnungen. Der kommerzielle Erfolg von Daniels nahm ab. Erst 1989 hatte die Band mit Simple Man wieder einen Goldhit. In den 1990er Jahren wurde es ruhiger um Daniels, da er mit seiner traditionell geprägten, kantigen Musik nicht mehr in den Massenmarkt passte. Er verlor sein Plattenlabel und gründete sein eigenes, auf dem er weiter regelmäßig veröffentlicht.
Im Januar 2008 wurde Daniels in die Grand Ole Opry aufgenommen. Heute lebt Daniels in Mount Juliet im US-Bundesstaat Tennessee, in der ein Park nach ihrem berühmten Sohn benannt ist. Im Januar 2010 erlitt Daniels einen leichten Schlaganfall während einer Motorschlittenfahrt in Colorado[1].
Anfänge
In seiner Jugend spielte Daniels Fiddle und Gitarre in diversen Bands. Mit 21 beschloss er, professioneller Musiker zu werden und spielte in einer Rock-Band, die sich Jaguars nannte. Die Band wurde nicht sehr bekannt, schaffte es aber, eine Platte mit dem Produzenten Bob Johnston, einem späteren Kopf von Columbia Records, aufzunehmen. Sein erster Erfolg war sein Song It Hurts Me, der 1964 als B-Seite einer Single von Elvis Presley erschien.
In den späten 1960ern ging Charlie Daniels nach Nashville, um als Studiomusiker zu arbeiten. Er spielte auf diversen Alben von Bob Dylan wie Nashville Skyline, Self Portrait und New Morning, auch wurde er Mitglied von Leonard Cohens Liveband.
Die 70er Jahre
Daniels, der sich zeit seines Lebens sehr stark mit den US-amerikanischen Südstaaten und deren konservativen Werten identifizierte, aber auch von der Kultur der Hippies beeinflusst war, fühlte sich zu der ab 1969 entstehenden Musikrichtung des Southern Rock hingezogen, zu deren anerkanntesten Protagonisten er gemeinsam mit den Allman Brothers und Lynyrd Skynyrd werden sollte. 1970 nahm er sein erstes Soloalbum, Charlie Daniels, auf.
1972 gründete er die Charlie Daniels Band. Daniels spielte Leadgitarre, Geige und sang. Mit in der Band waren Don Murray (Gitarre), Bassist Charlie Hayward und Schlagzeuger James W. Marshal, an den Keyboards Joe DiGregorio. 1973 hatte die Band ihren ersten Hit mit dem Song Uneasy Rider vom zweiten Album Honey in the Rock (1972). 1974 veröffentlichten sie Fire on the Mountain mit dem Hit Texas. Das Album kam in die Top 40 und bekam Goldstatus. Ein weiter Hit für Daniels war The South Is Gonna Do It Again, eine Hymne auf den Southern Rock und das Lebensgefühl der Südstaaten. 1976 folgte das Album Saddle Tramp - auch diese Platte schaffte Gold. Während der 1970er Jahre wurde die Charlie Daniels Band eine der wichtigsten Protagonisten des Southern Rock. 1974 organisierte er das erste von mehreren Volonteer-Jam-Konzerten, bei denen Southern-Rock-Musiker auftraten.
In den späten 1970ern, als Southern Rock an Popularität verlor, wandte sich die Musik der Band mehr und mehr in Richtung Country, die Geige wurde zu Daniels Markenzeichen. Sie bestimmt auch Daniels' größten Hit, The Devil Went Down to Georgia (1979). Der Song erreichte Platz 1 der Country-Charts und Platz 3 der Pop-Charts. Von der Country Music Association (CMA) wurde der Song zur Single des Jahres ernannt. Das Folgealbum Million Mile Reflections wurde mehrfach mit Platin ausgezeichnet.
Ab den 80er Jahren
Der Erfolg von The Devil Went Down to Georgia wurde von Charlie Daniels nie wieder erreicht, auch wenn die Band einige andere Hitsingles hatte, wie In America, Long Haired Country Boy, Still in Saigon und The Legend of Wooley Swamp. Die Platten Full Moon und Windows (1980 und 1982) bekamen Gold- und Platinauszeichnungen. Der kommerzielle Erfolg von Daniels nahm ab. Erst 1989 hatte die Band mit Simple Man wieder einen Goldhit. In den 1990er Jahren wurde es ruhiger um Daniels, da er mit seiner traditionell geprägten, kantigen Musik nicht mehr in den Massenmarkt passte. Er verlor sein Plattenlabel und gründete sein eigenes, auf dem er weiter regelmäßig veröffentlicht.
Im Januar 2008 wurde Daniels in die Grand Ole Opry aufgenommen. Heute lebt Daniels in Mount Juliet im US-Bundesstaat Tennessee, in der ein Park nach ihrem berühmten Sohn benannt ist. Im Januar 2010 erlitt Daniels einen leichten Schlaganfall während einer Motorschlittenfahrt in Colorado[1].
http://de.wikipedia.org/wiki/Charlie_Daniels
Charles Edward "Charlie" Daniels (born October 28, 1936) is an American musician, singer and songwriter known for his contributions to country, bluegrass, and Southern rock music. He is perhaps best known for his number one country hit "The Devil Went Down to Georgia", and multiple other songs he has written and performed. Daniels has been active as a singer since the early 1950s. He was inducted into the Grand Ole Opry on January 24, 2008[1] and the Musicians Hall of Fame and Museum in 2009.[2]
Career
Daniels is a singer, guitarist, and fiddler, who began writing and performing in the 1950s. In 1964, Daniels co-wrote "It Hurts Me" (a song which Elvis Presley recorded) with Joy Byers. He worked as a Nashville session musician, often for producer Bob Johnston, including playing electric bass on three Bob Dylan albums during 1969 and 1970, and on recordings by Leonard Cohen. Daniels recorded his first solo album, Charlie Daniels, in 1971 (see 1971 in country music). He produced the 1969 album by The Youngbloods, Elephant Mountain and played the violin on "Darkness, Darkness".[citation needed]
His first hit, the novelty song "Uneasy Rider", was from his 1973 third album, Honey in the Rock, and reached No.9 on the Billboard Hot 100.[citation needed]
Daniels in concert at the Chumash Casino Resort in Santa Ynez, California
During this period, Daniels played fiddle on many of The Marshall Tucker Band's early albums: "A New Life", "Where We All Belong", "Searchin' For a Rainbow", "Long Hard Ride" and "Carolina Dreams". Daniels can be heard on the live portion of the "Where We All Belong" album, recorded in Milwaukee on July 31, 1974.[citation needed] The same year, he organized the first in a series of Volunteer Jam concerts based in or around Nashville, Tennessee, often playing with members of Barefoot Jerry. Except for a three-year gap in the late 1980s, these jams have continued ever since. In 1975, he had a top 30 hit as leader of the Charlie Daniels Band with the Southern rock self-identification anthem "The South's Gonna Do It Again". "Long Haired Country Boy" was a minor hit in that year. Daniels played fiddle on Hank Williams, Jr.'s 1975 album Hank Williams, Jr. and Friends.[3]
Daniels won the Grammy Award for Best Country Vocal Performance in 1979 for "The Devil Went Down to Georgia", which reached No. 3 on the Hot 100 in September 1979. The following year, "Devil" became a major crossover success on rock radio stations after its inclusion on the soundtrack for the hit movie Urban Cowboy, in which he made an onscreen appearance. The song still receives regular airplay on U.S. classic rock and country stations. A hard rock/heavy metal cover version of the song was included in the video game Guitar Hero III: Legends of Rock as the final guitar battle against the last boss (Lou, the devil). Daniels has openly stated his opposition to the metal cover and the devil winning occasionally in the game.[4]
Subsequent Daniels pop hits included "In America" (#11 in 1980), "The Legend of Wooley Swamp" (#31 in 1980), and "Still in Saigon" (#22 in 1982). In 1980, Daniels participated in the country music concept album, The Legend of Jesse James. In the late 1980s and 1990s, several of Daniels' albums and singles were hits on the Country charts and the music continues to receive airplay on country stations today. Daniels released several Gospel and Christian records. In 1999 he made a guest vocal appearance on his song "All Night Long" with Montgomery Gentry (Eddie Montgomery and Troy Gentry) for their debut album, "Tattoos and Scars," which was a commercial success.
Daniels' distinctive speaking voice was used in Frank Wildhorn's 1999 musical, The Civil War. He is featured in the Prologue and "In Great Deeds". Daniels was inducted into the North Carolina Music Hall of Fame in 1999.[5]
In 2000, he composed and performed the score for the feature film Across the Line starring Brad Johnson. He guest starred as himself in an episode of King of the Hill, “The Bluegrass is Always Greener”, which aired on February 24, 2002. In 2005, he made a cameo appearance along with Larry the Cable Guy, Kid Rock, and Hank Williams, Jr. in Gretchen Wilson's music video for the song "All Jacked Up". In 2006, he appeared with Little Richard, Bootsy Collins, and other musicians as the backup band for Williams' opening sequence to Monday Night Football.
On October 18, 2005, Daniels was honored as a BMI Icon at the 53rd annual BMI Country Awards. Throughout his career, Daniels' songwriting has garnered 6 BMI Country Awards; the first award was won in 1976 for "The South's Gonna Do It Again".[6]
In November 2007, Daniels was invited by Martina McBride to become a member of the Grand Ole Opry.[7] He was inducted by Marty Stuart and Connie Smith during the January 19, 2008, edition of the Opry at the Ryman Auditorium.[8]
Daniels now resides in Mount Juliet, Tennessee, where the city has named a park after him. He continues to tour regularly. He appeared in commercials for UPS in 2002 with other celebrities convincing NASCAR driver Dale Jarrett to race the UPS Truck.
William Joel "Taz" DiGregorio, Daniels' keyboardist, died in a car accident in Cheatham County, Tennessee, on October 12, 2011.[9]
Daniels is featured playing fiddle in a television commercial for GEICO auto insurance.[10]
Politics
Daniels' public politics have been varied and idiosyncratic, tending toward in his late career a general rightward progression. His earliest hit, "Uneasy Rider," portrayed him as a hippie in the counterculture movement, caught in an argument with right-wing rednecks. "The South's Gonna Do It" had a mild message of Southern cultural identity within the Southern rock movement. Daniels was an early supporter of Jimmy Carter's presidential bid and performed at his January 1977 inauguration.
"In America" was a reaction to the 1979–1981 Iran Hostage Crisis; it described a patriotic, united America where "we'll all stick together and you can take that to the bank/That's the cowboys and the hippies and the rebels and the yanks." The song experienced a revival following the September 11 attacks, when it was floated around the internet as "Fuck Bin Laden".
In 1989, Daniels' country hit "Simple Man" was interpreted by some as advocating vigilantism. Lyrics such as "Just take them rascals [rapists, killers, child abusers] out in the swamp/Put 'em on their knees and tie 'em to a stump/Let the rattlers and the bugs and the alligators do the rest", garnered Daniels considerable media attention and talk show visits.
In 2003, Daniels published an Open Letter to the Hollywood Bunch in defense of President George W. Bush's Iraq policy. His 2003 book Ain't No Rag: Freedom, Family, and the Flag contains this letter as well as many other personal statements. During the 2004 presidential campaign, Daniels said that having never served in the military himself, he did not have the right to criticize John Kerry's service record, but that Kerry should allow the release of his official military record to establish the truth or falsehood of allegations from the Swift Boat Veterans for Truth.[11] His band's official website contains a "soapbox" page,[12] where Daniels has made statements such as the following: "In the future Darwinism will be looked upon as we now look upon the flat earth theory", and "I am more afraid of you and your ilk than I am of the terrorists", regarding U.S. Senator Harry Reid. On March 27, 2009, Daniels criticized the Obama Administration for "changing the name of the War on Terror to the "Overseas Contingency Operation" and referring to terrorism as "man-caused disasters"".[13]
Personal life
Daniels was born October 28, 1936, in Wilmington, North Carolina, and raised on a musical diet that included Pentecostal gospel, local bluegrass bands and the rhythm & blues and country music from Nashville's 50,000-watt radio stations WLAC and WSM (AM). He grew up in the small town of Gulf, Chatham County, North Carolina. He graduated from high school in 1955. Already skilled on guitar, fiddle, banjo, and mandolin, he formed a rock 'n' roll band and hit the road.[14]
Daniels enjoys hunting, fishing, skydiving, and other outdoor activities. He is a member of the National Rifle Association (NRA). He married his wife, Hazel, in 1963. Together, they have one son, Charlie Daniels, Jr.[15]
Daniels suffered a major arm injury on January 30, 1980 while digging fence post holes on his farm near Mount Juliet, where he lives. He suffered three complete breaks in his right arm, and two broken fingers when his shirtsleeve caught on a spinning auger. The injury required surgery, and sidelined him for four months.[16][17]
Daniels was successfully treated for prostate cancer in 2001.[17] On January 15, 2010, Daniels was rushed to the hospital after suffering a stroke while snowmobiling in Colorado. He recovered and was released 2 days later.[17]
During a doctor visit on March 25, 2013, Daniels was diagnosed with a mild case of pneumonia and admitted to a Nashville hospital for a series of routine tests. The tests revealed that a pacemaker was needed to regulate his heart rate. One was put in on March 28 and Daniels was expected to be out of the hospital the next day.
Career
Daniels is a singer, guitarist, and fiddler, who began writing and performing in the 1950s. In 1964, Daniels co-wrote "It Hurts Me" (a song which Elvis Presley recorded) with Joy Byers. He worked as a Nashville session musician, often for producer Bob Johnston, including playing electric bass on three Bob Dylan albums during 1969 and 1970, and on recordings by Leonard Cohen. Daniels recorded his first solo album, Charlie Daniels, in 1971 (see 1971 in country music). He produced the 1969 album by The Youngbloods, Elephant Mountain and played the violin on "Darkness, Darkness".[citation needed]
His first hit, the novelty song "Uneasy Rider", was from his 1973 third album, Honey in the Rock, and reached No.9 on the Billboard Hot 100.[citation needed]
Daniels in concert at the Chumash Casino Resort in Santa Ynez, California
During this period, Daniels played fiddle on many of The Marshall Tucker Band's early albums: "A New Life", "Where We All Belong", "Searchin' For a Rainbow", "Long Hard Ride" and "Carolina Dreams". Daniels can be heard on the live portion of the "Where We All Belong" album, recorded in Milwaukee on July 31, 1974.[citation needed] The same year, he organized the first in a series of Volunteer Jam concerts based in or around Nashville, Tennessee, often playing with members of Barefoot Jerry. Except for a three-year gap in the late 1980s, these jams have continued ever since. In 1975, he had a top 30 hit as leader of the Charlie Daniels Band with the Southern rock self-identification anthem "The South's Gonna Do It Again". "Long Haired Country Boy" was a minor hit in that year. Daniels played fiddle on Hank Williams, Jr.'s 1975 album Hank Williams, Jr. and Friends.[3]
Daniels won the Grammy Award for Best Country Vocal Performance in 1979 for "The Devil Went Down to Georgia", which reached No. 3 on the Hot 100 in September 1979. The following year, "Devil" became a major crossover success on rock radio stations after its inclusion on the soundtrack for the hit movie Urban Cowboy, in which he made an onscreen appearance. The song still receives regular airplay on U.S. classic rock and country stations. A hard rock/heavy metal cover version of the song was included in the video game Guitar Hero III: Legends of Rock as the final guitar battle against the last boss (Lou, the devil). Daniels has openly stated his opposition to the metal cover and the devil winning occasionally in the game.[4]
Subsequent Daniels pop hits included "In America" (#11 in 1980), "The Legend of Wooley Swamp" (#31 in 1980), and "Still in Saigon" (#22 in 1982). In 1980, Daniels participated in the country music concept album, The Legend of Jesse James. In the late 1980s and 1990s, several of Daniels' albums and singles were hits on the Country charts and the music continues to receive airplay on country stations today. Daniels released several Gospel and Christian records. In 1999 he made a guest vocal appearance on his song "All Night Long" with Montgomery Gentry (Eddie Montgomery and Troy Gentry) for their debut album, "Tattoos and Scars," which was a commercial success.
Daniels' distinctive speaking voice was used in Frank Wildhorn's 1999 musical, The Civil War. He is featured in the Prologue and "In Great Deeds". Daniels was inducted into the North Carolina Music Hall of Fame in 1999.[5]
In 2000, he composed and performed the score for the feature film Across the Line starring Brad Johnson. He guest starred as himself in an episode of King of the Hill, “The Bluegrass is Always Greener”, which aired on February 24, 2002. In 2005, he made a cameo appearance along with Larry the Cable Guy, Kid Rock, and Hank Williams, Jr. in Gretchen Wilson's music video for the song "All Jacked Up". In 2006, he appeared with Little Richard, Bootsy Collins, and other musicians as the backup band for Williams' opening sequence to Monday Night Football.
On October 18, 2005, Daniels was honored as a BMI Icon at the 53rd annual BMI Country Awards. Throughout his career, Daniels' songwriting has garnered 6 BMI Country Awards; the first award was won in 1976 for "The South's Gonna Do It Again".[6]
In November 2007, Daniels was invited by Martina McBride to become a member of the Grand Ole Opry.[7] He was inducted by Marty Stuart and Connie Smith during the January 19, 2008, edition of the Opry at the Ryman Auditorium.[8]
Daniels now resides in Mount Juliet, Tennessee, where the city has named a park after him. He continues to tour regularly. He appeared in commercials for UPS in 2002 with other celebrities convincing NASCAR driver Dale Jarrett to race the UPS Truck.
William Joel "Taz" DiGregorio, Daniels' keyboardist, died in a car accident in Cheatham County, Tennessee, on October 12, 2011.[9]
Daniels is featured playing fiddle in a television commercial for GEICO auto insurance.[10]
Politics
Daniels' public politics have been varied and idiosyncratic, tending toward in his late career a general rightward progression. His earliest hit, "Uneasy Rider," portrayed him as a hippie in the counterculture movement, caught in an argument with right-wing rednecks. "The South's Gonna Do It" had a mild message of Southern cultural identity within the Southern rock movement. Daniels was an early supporter of Jimmy Carter's presidential bid and performed at his January 1977 inauguration.
"In America" was a reaction to the 1979–1981 Iran Hostage Crisis; it described a patriotic, united America where "we'll all stick together and you can take that to the bank/That's the cowboys and the hippies and the rebels and the yanks." The song experienced a revival following the September 11 attacks, when it was floated around the internet as "Fuck Bin Laden".
In 1989, Daniels' country hit "Simple Man" was interpreted by some as advocating vigilantism. Lyrics such as "Just take them rascals [rapists, killers, child abusers] out in the swamp/Put 'em on their knees and tie 'em to a stump/Let the rattlers and the bugs and the alligators do the rest", garnered Daniels considerable media attention and talk show visits.
In 2003, Daniels published an Open Letter to the Hollywood Bunch in defense of President George W. Bush's Iraq policy. His 2003 book Ain't No Rag: Freedom, Family, and the Flag contains this letter as well as many other personal statements. During the 2004 presidential campaign, Daniels said that having never served in the military himself, he did not have the right to criticize John Kerry's service record, but that Kerry should allow the release of his official military record to establish the truth or falsehood of allegations from the Swift Boat Veterans for Truth.[11] His band's official website contains a "soapbox" page,[12] where Daniels has made statements such as the following: "In the future Darwinism will be looked upon as we now look upon the flat earth theory", and "I am more afraid of you and your ilk than I am of the terrorists", regarding U.S. Senator Harry Reid. On March 27, 2009, Daniels criticized the Obama Administration for "changing the name of the War on Terror to the "Overseas Contingency Operation" and referring to terrorism as "man-caused disasters"".[13]
Personal life
Daniels was born October 28, 1936, in Wilmington, North Carolina, and raised on a musical diet that included Pentecostal gospel, local bluegrass bands and the rhythm & blues and country music from Nashville's 50,000-watt radio stations WLAC and WSM (AM). He grew up in the small town of Gulf, Chatham County, North Carolina. He graduated from high school in 1955. Already skilled on guitar, fiddle, banjo, and mandolin, he formed a rock 'n' roll band and hit the road.[14]
Daniels enjoys hunting, fishing, skydiving, and other outdoor activities. He is a member of the National Rifle Association (NRA). He married his wife, Hazel, in 1963. Together, they have one son, Charlie Daniels, Jr.[15]
Daniels suffered a major arm injury on January 30, 1980 while digging fence post holes on his farm near Mount Juliet, where he lives. He suffered three complete breaks in his right arm, and two broken fingers when his shirtsleeve caught on a spinning auger. The injury required surgery, and sidelined him for four months.[16][17]
Daniels was successfully treated for prostate cancer in 2001.[17] On January 15, 2010, Daniels was rushed to the hospital after suffering a stroke while snowmobiling in Colorado. He recovered and was released 2 days later.[17]
During a doctor visit on March 25, 2013, Daniels was diagnosed with a mild case of pneumonia and admitted to a Nashville hospital for a series of routine tests. The tests revealed that a pacemaker was needed to regulate his heart rate. One was put in on March 28 and Daniels was expected to be out of the hospital the next day.
https://en.wikipedia.org/wiki/Charlie_Daniels
Charlie Daniels Band - "Devil Went Down to Georgia" | Live at the Grand Ole Opry | Opry
https://www.youtube.com/watch?v=tnepPZChA5U#t=59
Charlie Daniels Band "Tangled Up In Blue" Bob Dylan Cover // Outlaw Country // SiriusXM
T-Bone Walker *28.10.1910
-Bone Walker, eigentlich Aaron Thibeaux Walker (* 28. Mai 1910 in Linden, Texas; † 16. März 1975 in Los Angeles, Kalifornien), war ein amerikanischer Bluesgitarrist, Sänger und Songschreiber- Er gilt als einer der einflussreichsten Bluesmusiker des 20. Jahrhunderts und Pionier der elektrischen Gitarre. Er hatte afroamerikanische und Cherokee-Vorfahren.
Leben
Walker wuchs in Dallas auf, wo er schon als Kind Banjo, Fiddle und Gitarre spielen lernte. In Anlehnung an seinen zweiten Vornamen Thibeaux erhielt er bald den Spitznamen „T-Bone“. In Dallas lernte er den blinden Gitarristen Blind Lemon Jefferson kennen, mit dem er als eine Art Blindenführer durch die Straßen von Dallas zog und bei dessen Auftritten das Geld einsammelte. Durch ihn beeinflusst trat Walker mit 15 Jahren selbst als Bluessänger und Tänzer auf und lernte schon früh, durch spektakuläre Live-Einlagen (wie beispielsweise das Banjo-Spielen im Springen und Tanzen) das Publikum zu faszinieren. 1929 nahm Walker seine erste Schallplatte, Wichita Falls Blues/Trinity River Blues (Columbia Records,) auf, allerdings nicht unter seinem eigenen Namen, sondern als „Oak Cliff T-bone“. Mitte der 1930er spielte er in der Territory Band von Chester Boone und traf in Oklahoma City auf Charlie Christian.
1936 kam Walker nach Los Angeles, wo er seine kalifornische Karriere als Tänzer begann. 1939 wurde er von Les Hite für die Band „Les Hite Cotton Club Orchestra“ als Sänger engagiert. Von da an konzentrierte er sich mehr und mehr auf die Gitarre. So setzte er diese immer öfter zu seinem Gesang ein, bis er schließlich als Gitarrist gefragter war denn als Sänger. Dabei bestach er durch seine artistisch anmutenden Bühneneinlagen, wobei er die Gitarre auf Knien und hinter dem Rücken spielte.
1942, Walker war mittlerweile wegen besserer Verdienstmöglichkeiten nach Chicago gewechselt, nahm er beim neu gegründeten Capitol-Label seine ersten Soloplatten auf. Er veröffentlichte I Got a Break Baby/Mean Old World, wobei er populäre Musik und Blues auf seine mittlerweile elektrisch verstärkte Jazzgitarre übertrug und damit im Blues-Spiel eine Revolution auslöste.
Legendär ist T-Bone Walkers Produktion Call it Stormy Monday (But Tuesday Is Just as Bad) für das Black & White-Label (#122), die in Los Angeles am 13. September 1947 mit Produzent Ralph Bass entstand. Bei der Aufnahme wirkten Aaron „T-Bone“ Walker (Gesang/Gitarre), John „Teddy“ Buckner (Trompete), Bumps Myers (Tenorsaxophon), Lloyd Glenn (Klavier), Arthur Edwards (Bass) und Oscar Lee Bradley (Schlagzeug) mit. Der Titel erreichteden fünften Platz der R&B-Charts und gilt nicht nur als einer der einflussreichsten Songs der Musikgeschichte, sondern auch der Geschichte der Gitarre. Weitere Klassiker folgten, wie zum Beispiel der T-Bone Shuffle.
Trotz seiner Erfolge - Walker konnte zu dieser Zeit nie das Teenager-Publikum erreichen, wie beispielsweise Chuck Berry oder Fats Domino. Er spielte überwiegend in Nachtclubs, bis er 1955 aufgrund von Magenbeschwerden zusammenbrach und operiert werden musste.
In den 1960er Jahren wurde Walker international bekannt, als er 1962 für die von Horst Lippmann organisierten American Folk Blues Festivals in Europa engagiert wurde und unter anderem mit Memphis Slim auftrat; allerdings hemmte ihn sein Gesundheitszustand.
In seiner Karriere begleiteten ihn Musiker wie Teddy Buckner (Trompete), Lloyd Glenn (Klavier), Billy Hadnott (Bass) und Jack McVea (Saxophon).
1971 erhielt Walker einen Grammy für die Platte Good Feelin’ (Polygram Records 1969). Beim American Folk Blues Festival 1972 spielte er mit Big Mama Thornton zusammen. Diese Konzerte sollten die letzten Auftritte der beiden in Europa sein. 1973 produzierten Jerry Leiber und Mike Stoller mit ihm und Musikern wie Dizzy Gillespie, Gerry Mulligan, Herbie Mann, David „Fathhead“ Newman eine späte Hommage an den großen Bluessänger und Gitarristen Walker („very rare“, 2 LPs, Reprise Records). Dort erzählte T-Bone Walker auch, dass seine Mutter eine Cherokee war und wie er zu seinem Spitznamen kam.
Tod
T-Bone Walker starb 1975 an einem Schlaganfall. Er wurde auf dem Inglewood Park Cemetery in Inglewood bei Los Angeles beigesetzt. 1980 wurde er poshtum in die Blues Hall of Fame aufgenommen.
Spätere Gitarristen, unter anderem Chuck Berry[1] und Jimi Hendrix, übernahmen von Walker Teile seiner spektakulären Auftritte. Auch das Spiel in artistisch anmutenden Körperhaltungen (auf den Knien, Instrument hinter dem Kopf gespielt usw.) wird Walkers Einfluss zugeschrieben.
Leben
Walker wuchs in Dallas auf, wo er schon als Kind Banjo, Fiddle und Gitarre spielen lernte. In Anlehnung an seinen zweiten Vornamen Thibeaux erhielt er bald den Spitznamen „T-Bone“. In Dallas lernte er den blinden Gitarristen Blind Lemon Jefferson kennen, mit dem er als eine Art Blindenführer durch die Straßen von Dallas zog und bei dessen Auftritten das Geld einsammelte. Durch ihn beeinflusst trat Walker mit 15 Jahren selbst als Bluessänger und Tänzer auf und lernte schon früh, durch spektakuläre Live-Einlagen (wie beispielsweise das Banjo-Spielen im Springen und Tanzen) das Publikum zu faszinieren. 1929 nahm Walker seine erste Schallplatte, Wichita Falls Blues/Trinity River Blues (Columbia Records,) auf, allerdings nicht unter seinem eigenen Namen, sondern als „Oak Cliff T-bone“. Mitte der 1930er spielte er in der Territory Band von Chester Boone und traf in Oklahoma City auf Charlie Christian.
1936 kam Walker nach Los Angeles, wo er seine kalifornische Karriere als Tänzer begann. 1939 wurde er von Les Hite für die Band „Les Hite Cotton Club Orchestra“ als Sänger engagiert. Von da an konzentrierte er sich mehr und mehr auf die Gitarre. So setzte er diese immer öfter zu seinem Gesang ein, bis er schließlich als Gitarrist gefragter war denn als Sänger. Dabei bestach er durch seine artistisch anmutenden Bühneneinlagen, wobei er die Gitarre auf Knien und hinter dem Rücken spielte.
1942, Walker war mittlerweile wegen besserer Verdienstmöglichkeiten nach Chicago gewechselt, nahm er beim neu gegründeten Capitol-Label seine ersten Soloplatten auf. Er veröffentlichte I Got a Break Baby/Mean Old World, wobei er populäre Musik und Blues auf seine mittlerweile elektrisch verstärkte Jazzgitarre übertrug und damit im Blues-Spiel eine Revolution auslöste.
Legendär ist T-Bone Walkers Produktion Call it Stormy Monday (But Tuesday Is Just as Bad) für das Black & White-Label (#122), die in Los Angeles am 13. September 1947 mit Produzent Ralph Bass entstand. Bei der Aufnahme wirkten Aaron „T-Bone“ Walker (Gesang/Gitarre), John „Teddy“ Buckner (Trompete), Bumps Myers (Tenorsaxophon), Lloyd Glenn (Klavier), Arthur Edwards (Bass) und Oscar Lee Bradley (Schlagzeug) mit. Der Titel erreichteden fünften Platz der R&B-Charts und gilt nicht nur als einer der einflussreichsten Songs der Musikgeschichte, sondern auch der Geschichte der Gitarre. Weitere Klassiker folgten, wie zum Beispiel der T-Bone Shuffle.
Trotz seiner Erfolge - Walker konnte zu dieser Zeit nie das Teenager-Publikum erreichen, wie beispielsweise Chuck Berry oder Fats Domino. Er spielte überwiegend in Nachtclubs, bis er 1955 aufgrund von Magenbeschwerden zusammenbrach und operiert werden musste.
In den 1960er Jahren wurde Walker international bekannt, als er 1962 für die von Horst Lippmann organisierten American Folk Blues Festivals in Europa engagiert wurde und unter anderem mit Memphis Slim auftrat; allerdings hemmte ihn sein Gesundheitszustand.
In seiner Karriere begleiteten ihn Musiker wie Teddy Buckner (Trompete), Lloyd Glenn (Klavier), Billy Hadnott (Bass) und Jack McVea (Saxophon).
1971 erhielt Walker einen Grammy für die Platte Good Feelin’ (Polygram Records 1969). Beim American Folk Blues Festival 1972 spielte er mit Big Mama Thornton zusammen. Diese Konzerte sollten die letzten Auftritte der beiden in Europa sein. 1973 produzierten Jerry Leiber und Mike Stoller mit ihm und Musikern wie Dizzy Gillespie, Gerry Mulligan, Herbie Mann, David „Fathhead“ Newman eine späte Hommage an den großen Bluessänger und Gitarristen Walker („very rare“, 2 LPs, Reprise Records). Dort erzählte T-Bone Walker auch, dass seine Mutter eine Cherokee war und wie er zu seinem Spitznamen kam.
Tod
T-Bone Walker starb 1975 an einem Schlaganfall. Er wurde auf dem Inglewood Park Cemetery in Inglewood bei Los Angeles beigesetzt. 1980 wurde er poshtum in die Blues Hall of Fame aufgenommen.
Spätere Gitarristen, unter anderem Chuck Berry[1] und Jimi Hendrix, übernahmen von Walker Teile seiner spektakulären Auftritte. Auch das Spiel in artistisch anmutenden Körperhaltungen (auf den Knien, Instrument hinter dem Kopf gespielt usw.) wird Walkers Einfluss zugeschrieben.
Aaron Thibeaux "T-Bone" Walker (May 28, 1910 – March 16, 1975) was a critically acclaimed American blues guitarist, singer, songwriter and multi-instrumentalist, who was an influential pioneer and innovator of the jump blues and electric blues sound.[1][2] In 2011, Rolling Stone magazine ranked him at number 67 on their list of "The 100 Greatest Guitarists of All Time".[3]
Biography
Early years
Walker was born in Linden, Texas, of African-American and Cherokee descent. Walker's parents, Movelia Jimerson and Rance Walker, were both musicians. His stepfather, Marco Washington, taught him to play the guitar, ukulele, banjo, violin, mandolin, and piano.[4]
Walker began his career as a teenager in Dallas in the early 1900s. His mother and stepfather (a member of the Dallas String Band) were musicians, and family friend Blind Lemon Jefferson sometimes came over for dinner.[5] Walker left school at the age of 10, and by 15[3] he was a professional performer on the blues circuit. Initially, he was Jefferson's protégé and would guide him around town for his gigs.[4] In 1929, Walker made his recording debut with Columbia Records billed as Oak Cliff T-Bone, releasing the single "Wichita Falls Blues"/"Trinity River Blues". Oak Cliff was the community he lived in at the time and T-Bone a corruption of his middle name. Pianist Douglas Fernell played accompaniment on the record.[1]
Walker married Vida Lee in 1935; the couple had three children. By the age of 25, Walker was working at clubs in Los Angeles' Central Avenue, sometimes as the featured singer and guitarist with Les Hite's orchestra.[5]
Newfound style
Much of his output was recorded from 1946 to 1948 on Black & White Records, including his most famous song, 1947's "Call It Stormy Monday (But Tuesday Is Just as Bad)".[1] Other notable songs he recorded during this period were "Bobby Sox Blues" (a #3 R&B hit in 1947),[6] and "West Side Baby" (#8 on the R&B singles charts in 1948).[7]
Throughout his career Walker worked with top-notch musicians, including trumpeter Teddy Buckner, pianist Lloyd Glenn, Billy Hadnott (bass), and tenor saxophonist Jack McVea.
Following his work with White and Black, he recorded from 1950 to 1954 for Imperial Records (backed by Dave Bartholomew). Walker's only record in the next five years was T-Bone Blues, recorded over three widely separated sessions in 1955, 1956 and 1959, and finally released by Atlantic Records in 1960.
By the early 1960s, Walker's career had slowed down, in spite of a hyped appearance at the American Folk Blues Festival in 1962 with pianist Memphis Slim and prolific writer and musician Willie Dixon, among others.[1] However, several critically acclaimed albums followed, such as I Want a Little Girl (recorded for Delmark Records in 1968). Walker recorded in his last years, from 1968 to 1975, for Robin Hemingway's Jitney Jane Songs music publishing company, and he won a Grammy Award for Best Ethnic or Traditional Folk Recording in 1971 for Good Feelin′, while signed by Polydor Records, produced by Hemingway,[4] followed by another album produced by Hemingway: Walker's Fly Walker Airlines, which was released in 1973.[8]
T-Bone Walker at the American Folk Blues Festival in Hamburg, March 1972
Walker's career began to wind down after he suffered a stroke in 1974.[1] He died of bronchial pneumonia following another stroke in March 1975, at the age of 64.[1][9]
Legacy
Walker was posthumously inducted into the Blues Hall of Fame in 1980,[10] and into the Rock and Roll Hall of Fame in 1987.[9][11]
Chuck Berry named Walker and Louis Jordan as his main influences.[12] B.B. King cites hearing Walker's "Stormy Monday" record as his inspiration for getting an electric guitar.[13] Walker was admired by Jimi Hendrix who imitated Walker's trick of playing the guitar with his teeth.[5] "Stormy Monday" was a favorite live number for The Allman Brothers Band.
Biography
Early years
Walker was born in Linden, Texas, of African-American and Cherokee descent. Walker's parents, Movelia Jimerson and Rance Walker, were both musicians. His stepfather, Marco Washington, taught him to play the guitar, ukulele, banjo, violin, mandolin, and piano.[4]
Walker began his career as a teenager in Dallas in the early 1900s. His mother and stepfather (a member of the Dallas String Band) were musicians, and family friend Blind Lemon Jefferson sometimes came over for dinner.[5] Walker left school at the age of 10, and by 15[3] he was a professional performer on the blues circuit. Initially, he was Jefferson's protégé and would guide him around town for his gigs.[4] In 1929, Walker made his recording debut with Columbia Records billed as Oak Cliff T-Bone, releasing the single "Wichita Falls Blues"/"Trinity River Blues". Oak Cliff was the community he lived in at the time and T-Bone a corruption of his middle name. Pianist Douglas Fernell played accompaniment on the record.[1]
Walker married Vida Lee in 1935; the couple had three children. By the age of 25, Walker was working at clubs in Los Angeles' Central Avenue, sometimes as the featured singer and guitarist with Les Hite's orchestra.[5]
Newfound style
Much of his output was recorded from 1946 to 1948 on Black & White Records, including his most famous song, 1947's "Call It Stormy Monday (But Tuesday Is Just as Bad)".[1] Other notable songs he recorded during this period were "Bobby Sox Blues" (a #3 R&B hit in 1947),[6] and "West Side Baby" (#8 on the R&B singles charts in 1948).[7]
Throughout his career Walker worked with top-notch musicians, including trumpeter Teddy Buckner, pianist Lloyd Glenn, Billy Hadnott (bass), and tenor saxophonist Jack McVea.
Following his work with White and Black, he recorded from 1950 to 1954 for Imperial Records (backed by Dave Bartholomew). Walker's only record in the next five years was T-Bone Blues, recorded over three widely separated sessions in 1955, 1956 and 1959, and finally released by Atlantic Records in 1960.
By the early 1960s, Walker's career had slowed down, in spite of a hyped appearance at the American Folk Blues Festival in 1962 with pianist Memphis Slim and prolific writer and musician Willie Dixon, among others.[1] However, several critically acclaimed albums followed, such as I Want a Little Girl (recorded for Delmark Records in 1968). Walker recorded in his last years, from 1968 to 1975, for Robin Hemingway's Jitney Jane Songs music publishing company, and he won a Grammy Award for Best Ethnic or Traditional Folk Recording in 1971 for Good Feelin′, while signed by Polydor Records, produced by Hemingway,[4] followed by another album produced by Hemingway: Walker's Fly Walker Airlines, which was released in 1973.[8]
T-Bone Walker at the American Folk Blues Festival in Hamburg, March 1972
Walker's career began to wind down after he suffered a stroke in 1974.[1] He died of bronchial pneumonia following another stroke in March 1975, at the age of 64.[1][9]
Legacy
Walker was posthumously inducted into the Blues Hall of Fame in 1980,[10] and into the Rock and Roll Hall of Fame in 1987.[9][11]
Chuck Berry named Walker and Louis Jordan as his main influences.[12] B.B. King cites hearing Walker's "Stormy Monday" record as his inspiration for getting an electric guitar.[13] Walker was admired by Jimi Hendrix who imitated Walker's trick of playing the guitar with his teeth.[5] "Stormy Monday" was a favorite live number for The Allman Brothers Band.
T-Bone Walker w/ Jazz At The Philharmonic - Live in UK 1966
T-Bone Walker - Call It Stormy Monday
Graham Bond *28.10.1937
Graham Bond (* 28. Oktober 1937 in Romford; † 8. Mai 1974 in London) war ein englischer Jazz- und Blues-Musiker, der angeblich sein eigenes Geburtsdatum nicht kannte und sich als unehelicher Sohn des Magiers Aleister Crowley ausgab. Er sang und spielte Saxophon und Keyboard. Zu seinen Verdiensten zählt, dass er die Hammond-Orgel und das Mellotron in die Rockmusik einführte. Außerdem war seine Band eine Talentschmiede, aus der, ähnlich den Formationen von Alexis Korner und John Mayall, bedeutende Musiker der englischen Szene hervorgingen, die dann in eigenen Bands erfolgreich wurden, z.B. John McLaughlin, Jack Bruce, Ginger Baker, Dick Heckstall-Smith und Jon Hiseman.
1963 gründete er in London die Graham Bond Organization, zuvor hatte er bei Alexis Korner's Blues Incorporated Cyril Davies ersetzt. 1966 wurde er straffällig und löste die Band auf. 1968 ging er nach Amerika und nahm dort zwei Soloalben auf. 1970 war er Mitglied von Ginger Baker's Air Force wo er Saxophon spielte, er ist auch auf einigen ihrer Tonträger zu hören.
Graham Bond starb im Alter von 36 Jahren, als er in London in der U-Bahn-Station Finsbury Park von einem einfahrenden Zug der Piccadilly Line überfahren wurde. Bond konnte nur anhand seiner Fingerabdrücke identifiziert werden.
Kurz vor seinem Tod hatte er sich bei der Presse gemeldet und mitgeteilt, dass es ihm gut gehe und er neue musikalische Pläne verwirklichen wolle.
1963 gründete er in London die Graham Bond Organization, zuvor hatte er bei Alexis Korner's Blues Incorporated Cyril Davies ersetzt. 1966 wurde er straffällig und löste die Band auf. 1968 ging er nach Amerika und nahm dort zwei Soloalben auf. 1970 war er Mitglied von Ginger Baker's Air Force wo er Saxophon spielte, er ist auch auf einigen ihrer Tonträger zu hören.
Graham Bond starb im Alter von 36 Jahren, als er in London in der U-Bahn-Station Finsbury Park von einem einfahrenden Zug der Piccadilly Line überfahren wurde. Bond konnte nur anhand seiner Fingerabdrücke identifiziert werden.
Kurz vor seinem Tod hatte er sich bei der Presse gemeldet und mitgeteilt, dass es ihm gut gehe und er neue musikalische Pläne verwirklichen wolle.
Graham John Clifton Bond (28 October 1937 – 8 May 1974) was an English musician, considered a founding father of the English rhythm and blues boom of the 1960s.
Bond was an innovator, described as "an important, under-appreciated figure of early British R&B",[1] along with Cyril Davies and Alexis Korner. Jack Bruce, John McLaughlin and Ginger Baker first achieved prominence in his group, the Graham Bond Organisation. Bond was voted Britain's New Jazz Star in 1961.[2][3] He was an early user of the Hammond organ/Leslie speaker combination in British rhythm and blues[4] – he "split" the Hammond for portability – and was the first rock artist to record using a Mellotron,[4] on his There's A Bond Between Us LP. As such he was a major influence upon later rock keyboardists: Deep Purple's Jon Lord said "He taught me, hands on, most of what I know about the Hammond organ".[5]
Biography
Bond was born in Romford, Essex. Adopted from a Dr. Barnardo's home,[4] he was educated at the Royal Liberty School in Gidea Park, East London, where he learned music.[4] His first jazz gig was in 1960 with the Goudie Charles Quintet, staying for a year. He first gained national attention as a jazz saxophonist as a member of the Don Rendell Quintet, then briefly joined Alexis Korner's Blues Incorporated[6] before forming the Graham Bond Quartet with musicians he met in the Korner group, Ginger Baker on drums and Jack Bruce on double bass,[6] together with John McLaughlin on guitar; and adopting the Hammond organ as his main instrument.[4] The group then became The Graham Bond Organisation (GBO), while John McLaughlin was later replaced by Dick Heckstall-Smith on saxophones. Their album There's A Bond Between Us of October 1965 is considered the first recording of rock music that uses a Mellotron.
The group dissolved in 1967, because of relentless internal bickering between drummer Ginger Baker and bassist Jack Bruce (leading to the latter's ousting), Baker's and Bond's escalating drug abuse, and the group's lack of commercial success, put down to Bond being "unable to find a commercially successful niche. The jazz fraternity regarded Bond's band as too noisy and rock-based, while the pop audience found his music complicated and too jazzy".[4] With Bond's mental and physical health deteriorating, Baker left to form what would become Cream with Eric Clapton and Bruce. Baker's replacement, Jon Hiseman, and Dick Heckstall-Smith went on to form Colosseum, who would showcase the Bond song "Walkin' in the Park" on their first album.[4]
After the break-up of the Organization, Bond continued to exhibit mental disorders, with manic episodes and periods of intense depression, exacerbated by heavy drug use.[4] Moving to America, he recorded two albums and performed session work for Harvey Mandel and Dr. John among others, but he returned to England in 1969.[4] He then formed Graham Bond Initiation with his new wife Diane Stewart, who shared his interest in magick, and in 1970 Holy Magick, which recorded a self-titled album and We Put Our Magick On You. He was also re-united with old band members while playing saxophone in Ginger Baker's Air Force and spending a short time in the Jack Bruce Band.[4] Solid Bond, a double-album compiling live tracks recorded in 1963 by the Graham Bond Quartet (Bond, McLaughlin, Bruce and Baker) and a studio session from 1966 by the Graham Bond Organisation (Bond, Heckstall-Smith and Hiseman) was released that same year.
In 1972 he teamed up with Pete Brown to record Two Heads are Better Than One.[4] He also recorded an album with the John Dummer Band in 1973, although this was not released until 2008. After the near-simultaneous collapse of his band and his marriage, Bond then formed Magus with British folk-singer Carolanne Pegg and American bassist Marc Mazz, which disbanded around Christmas 1973 without recording. During that same period, he discovered American singer-songwriter-guitarist Mick Lee, and they played together live but never recorded. Plans to include Chris Wood of Traffic never materialized due to Bond's death.[citation needed]
Bond's financial affairs were in chaos, and the years of lack of commercial success and the recent demise of Magus had badly hurt his pride.[citation needed] Throughout his career he had been hampered with severe bouts of drug addiction, and spent January 1973 in hospital after a nervous breakdown.[citation needed] According to Harry Shapiro, in his biography The Mighty Shadow, Bond was considered as a possible replacement for Patrick Moraz in Refugee.[citation needed] On 8 May 1974, Bond died under the wheels of a Piccadilly line train at Finsbury Park station, London, at the age of 36. Most sources list the death as a suicide. Friends agree that he was off drugs, although becoming increasingly obsessed with the occult (he believed he was Aleister Crowley's son).[7]
Bond's legacy as a springboard for talent and as a Hammond Organ pioneer musician in his own right was largely overlooked for the latter part of the 20th century. However, his legacy has been somewhat re-examined in later years and in 2015 his work was the focus of a two-hour special on the Dr Boogie radio show.
Bond was an innovator, described as "an important, under-appreciated figure of early British R&B",[1] along with Cyril Davies and Alexis Korner. Jack Bruce, John McLaughlin and Ginger Baker first achieved prominence in his group, the Graham Bond Organisation. Bond was voted Britain's New Jazz Star in 1961.[2][3] He was an early user of the Hammond organ/Leslie speaker combination in British rhythm and blues[4] – he "split" the Hammond for portability – and was the first rock artist to record using a Mellotron,[4] on his There's A Bond Between Us LP. As such he was a major influence upon later rock keyboardists: Deep Purple's Jon Lord said "He taught me, hands on, most of what I know about the Hammond organ".[5]
Biography
Bond was born in Romford, Essex. Adopted from a Dr. Barnardo's home,[4] he was educated at the Royal Liberty School in Gidea Park, East London, where he learned music.[4] His first jazz gig was in 1960 with the Goudie Charles Quintet, staying for a year. He first gained national attention as a jazz saxophonist as a member of the Don Rendell Quintet, then briefly joined Alexis Korner's Blues Incorporated[6] before forming the Graham Bond Quartet with musicians he met in the Korner group, Ginger Baker on drums and Jack Bruce on double bass,[6] together with John McLaughlin on guitar; and adopting the Hammond organ as his main instrument.[4] The group then became The Graham Bond Organisation (GBO), while John McLaughlin was later replaced by Dick Heckstall-Smith on saxophones. Their album There's A Bond Between Us of October 1965 is considered the first recording of rock music that uses a Mellotron.
The group dissolved in 1967, because of relentless internal bickering between drummer Ginger Baker and bassist Jack Bruce (leading to the latter's ousting), Baker's and Bond's escalating drug abuse, and the group's lack of commercial success, put down to Bond being "unable to find a commercially successful niche. The jazz fraternity regarded Bond's band as too noisy and rock-based, while the pop audience found his music complicated and too jazzy".[4] With Bond's mental and physical health deteriorating, Baker left to form what would become Cream with Eric Clapton and Bruce. Baker's replacement, Jon Hiseman, and Dick Heckstall-Smith went on to form Colosseum, who would showcase the Bond song "Walkin' in the Park" on their first album.[4]
After the break-up of the Organization, Bond continued to exhibit mental disorders, with manic episodes and periods of intense depression, exacerbated by heavy drug use.[4] Moving to America, he recorded two albums and performed session work for Harvey Mandel and Dr. John among others, but he returned to England in 1969.[4] He then formed Graham Bond Initiation with his new wife Diane Stewart, who shared his interest in magick, and in 1970 Holy Magick, which recorded a self-titled album and We Put Our Magick On You. He was also re-united with old band members while playing saxophone in Ginger Baker's Air Force and spending a short time in the Jack Bruce Band.[4] Solid Bond, a double-album compiling live tracks recorded in 1963 by the Graham Bond Quartet (Bond, McLaughlin, Bruce and Baker) and a studio session from 1966 by the Graham Bond Organisation (Bond, Heckstall-Smith and Hiseman) was released that same year.
In 1972 he teamed up with Pete Brown to record Two Heads are Better Than One.[4] He also recorded an album with the John Dummer Band in 1973, although this was not released until 2008. After the near-simultaneous collapse of his band and his marriage, Bond then formed Magus with British folk-singer Carolanne Pegg and American bassist Marc Mazz, which disbanded around Christmas 1973 without recording. During that same period, he discovered American singer-songwriter-guitarist Mick Lee, and they played together live but never recorded. Plans to include Chris Wood of Traffic never materialized due to Bond's death.[citation needed]
Bond's financial affairs were in chaos, and the years of lack of commercial success and the recent demise of Magus had badly hurt his pride.[citation needed] Throughout his career he had been hampered with severe bouts of drug addiction, and spent January 1973 in hospital after a nervous breakdown.[citation needed] According to Harry Shapiro, in his biography The Mighty Shadow, Bond was considered as a possible replacement for Patrick Moraz in Refugee.[citation needed] On 8 May 1974, Bond died under the wheels of a Piccadilly line train at Finsbury Park station, London, at the age of 36. Most sources list the death as a suicide. Friends agree that he was off drugs, although becoming increasingly obsessed with the occult (he believed he was Aleister Crowley's son).[7]
Bond's legacy as a springboard for talent and as a Hammond Organ pioneer musician in his own right was largely overlooked for the latter part of the 20th century. However, his legacy has been somewhat re-examined in later years and in 2015 his work was the focus of a two-hour special on the Dr Boogie radio show.
The Graham Bond Organization - Hoochie Coochie Man
The Graham Bond Organisation "Wade In The Water", "Big Boss Man" & "Early In The Morning"
Fran Zosha *28.10.1962
https://www.facebook.com/fran.zosha/about
https://www.facebook.com/Blues-Messengers-1399967336915569/?pnref=about.overview
http://franzosha.wixsite.com/franzosha
Dust my broom
Thomas Middendorf *28.10.
Reimund „Ferdi“ Eberth ( Git., Bass, Gesang )
Horst „Molly“ Schreiber ( Bass, Git., Gesang )
Thomas Middendorf ( Schlagzeug, Perc. )
Drei „gestandene“, sprich erfahrene Musiker, haben sich zu diesem Trio zusammen gefunden, um die Songs von Ferdi Eberth und ausgesuchte, für dieses Trio passend neu arrangierte Stücke einem großen Publikum zu präsentieren. Dazu ging die Band ins Megaphon Tonstudio von Martin Meinschäfer ( der u.a. mit Kai Strauss, Henrik Freischlader usw. mehrere Alben aufgenommen hat ) und machte Aufnahmen für eine CD, die dann bei BELLAPHON auf dem Label L+R unter dem Titel „Blues Unlimited“ erschienen und im Handel erhältlich ist.
Mit Bands wie Zoppo Trump, Ferdi Eberth Band, Nicky Gebhard + Geefresh, usw. verbunden mit CD-Produktionen, vielen Touren im In- u. Ausland, Radio, TV und gemeinsamen Konzerten u.a. mit Joe Cocker, Ian Gillan, Roger Chapman, Pete York, Dexter Gordon hat „Ferdi“ Eberth einen reichhaltigen, musikalischen Erfahrungsschatz gesammelt, der nun der Band beim Blues in all seinen Facetten zu Gute kommt : mal der reine Delta- oder Cityblues, Bluesrock, mal jazzig, funky, latin aber immer mit Groove gespielt.
Horst „Molly“ Schreiber ist ein Musiker, den Ferdi Eberth schon seit seiner Zoppo Trump Zeit kennt und schätzt. Molly spielte erfolgreich mit Breakfast, später mit den Strandjung’s (die „deutschen“ Beach Boys), der Jane Palmer Band usw. viele Produktionen – LP’s + CD’s- ein. Auch Molly hat mit seinen Bands im In- u. Ausland getourt und Radio und TV Auftritte gespielt. Später hat er auch in seinem Studio andere Bands und Künstler produziert.
Thomas Middendorf ist ein sehr vielseitiger und gefragter Schlagzeuger und Percussionist. Seine „jazzige“ Seite lebt er bei Global Beat live und bei deren CD Produktionen aus.
Die „Hardrockabteilung“ bedient er bei Rocking Chair. Bei Blues Unlimited kann er aus seinen gesamten, musikalischen Erfahrungen schöpfen und sie in den Gesamtsound der Band einbringen. Nicht nur in seinen unglaublichen Schlagzeugsoli lässt er seinem Können freien Lauf und nutzt dabei alle Möglichkeiten des Instrumentes aus – sehr dynamisch, sehr virtuos – immer wieder eines der Highlights bei einem Blues Unlimited Konzert.
Schlagzeug und Bass bringen den Druck, das Fundament und bilden eine rhythmische, unerschütterliche Bastion auf die sich die Gitarre bei ihren Improvisationen – mal kreischend, heulend, leise singend oder beim Bottleneckspiel mit ineinander fließenden Tönen – verlassen kann. Auf diese Basis stützt sich der ausdruckstarke und markante Gesang von Ferdi Eberth und Molly Schreiber. Es sind also zwei hervorragende Sänger in der Band, die nicht nur solistisch sondern auch zweistimmig singen. Das erweitert den Klang der Band sehr, ebenso, dass Molly und Ferdi bei einigen Stücken zwischen Bass und Gitarre wechseln, da beide stilistisch anders spielen.
Große Erfolge feierte die Band bei Konzerten mit Miller Anderson, Stan Webb’s Chicken Shack, Vdelli, Henrik Freischlader, beim 6. und 9.Int. Bluesfestival im Bürgerzentrum Alter Schlachthof in Soest, beim Bluesfestival Kamen, im Jazz Club Blue Notez in Dortmund, sowie bei vielen Auftritten in ganz Deutschland.
Wer 1a handgemachte Livemusik erleben will, der ist bei Blues Unlimited genau richtig.
http://the-shakespeare.pub/events/blues-unlimited/
Blues unlimited - Good Morning Blues
Blues unlimited - "Good Morning Blues"
live @ Maschinchen Buntes, Witten
16.08.2014
Reimund "Ferdi" Eberth - Guitar, Vocals
Horst "Molly" Schreiber - Bass
Thomas Middendorf - Drums
https://www.youtube.com/watch?v=CHH3LbhNOIs
Die Band spielt in der „klassischen” Trio – Besetzung; so bleiben die Songs im Arrangement transparent und „luftig“. Außerdem kann so Spontanität leichter umgesetzt werden. Es geht schnörkellos zur Sache und auch zu dritt wird der erforderliche Druck aufgebaut, den mancher Song fordert.
Nach ausgiebigen, musikalischen Ausflügen in andere Musikrichtungen, mit Bands wie Zoppo Trump, Nicky Gebhard + Geefresh, usw. verbunden mit CD-Produktionen, vielen Touren, Radio, TV und gemeinsamen Konzerten u.a. mit Joe Cocker, Ian Gillan, Roger Chapman, Pete York, Dexter Gordon ist „Ferdi“ Eberth zu seiner ursprünglichen, musikalischen Leidenschaft dem Blues in all seinen Facetten zurückgekehrt : mal der reine Delta- oder Cityblues, Bluesrock, mal jazzig oder funky.
Mit „Molly“ Schreiber ( Bass, Gesang ) ist nun ein Musiker in der Band, den Ferdi Eberth schon seit seiner Zoppo Trump Zeit kennt und schätzt. Während Ferdi mit Zoppo Trump aktiv war, spielte Molly erfolgreich mit Breakfast und später u. a. mit den Strandjung’s ( die „deutschen“ Beach Boys).
Thomas Middendorf ( Schlagzeug ) ist von Beginn an in der Band und sorgt für den nötigen Groove und Drive. Bei seinen Soli lässt er seinem Können freien Lauf und nutzt dabei alle Möglichkeiten des Instrumentes aus – sehr dynamisch, sehr virtuos – immer wieder eines der Highlights bei einem Blues Unlimited Konzert.
Schlagzeug und Bass bringen den Druck, das Fundament und bilden eine rhythmische, unerschütterliche Bastion auf die sich die Gitarre bei ihren Improvisationen – mal kreischend, heulend, leise singend oder beim Bottleneckspiel mit ineinander fließenden Tönen – verlassen kann. Auf diese Basis stützt sich der ausdruckstarke und markante Gesang von Ferdi Eberth. Auch Molly Schreiber singt solistisch und das erweitert das Bandspektrum sehr, da nun auch zweistimmig gearbeitet wird.
Im Repertoire der Band finden sich Stücke der legendären Bluesgrößen, Songs der moderneren Blues- und Rockszene und viele Kompositionen von Ferdi Eberth. Dazu kommen hochinteressante, zum Teil Reharmonisierte Arrangements sehr bekannter Songs – alles so arrangiert, dass Blues Unlimited als Trio den Stücken gerecht werden kann.
Große Erfolge feierte die Band bei Konzerten mit Miller Anderson, Stan Webb’s Chicken Shack, Vdelli, Henrik Freischlader, beim 6. und 9.Int. Bluesfestival im Bürgerzentrum Alter Schlachthof in Soest, beim Bluesfestival Kamen und im Jazz Club Blue Notez in Dortmund, sowie bei vielen Auftritten in ganz Deutschland.
Reimund „Ferdi“ Eberth ( Git., Gesang )
Horst „Molly“ Schreiber ( Baß, Gesang )
Thomas Middendorf ( Schlagzeug )
Wer 1a handgemachte Bluesmusik live erleben will, der ist bei Blues Unlimited genau richtig.
Nach ausgiebigen, musikalischen Ausflügen in andere Musikrichtungen, mit Bands wie Zoppo Trump, Nicky Gebhard + Geefresh, usw. verbunden mit CD-Produktionen, vielen Touren, Radio, TV und gemeinsamen Konzerten u.a. mit Joe Cocker, Ian Gillan, Roger Chapman, Pete York, Dexter Gordon ist „Ferdi“ Eberth zu seiner ursprünglichen, musikalischen Leidenschaft dem Blues in all seinen Facetten zurückgekehrt : mal der reine Delta- oder Cityblues, Bluesrock, mal jazzig oder funky.
Mit „Molly“ Schreiber ( Bass, Gesang ) ist nun ein Musiker in der Band, den Ferdi Eberth schon seit seiner Zoppo Trump Zeit kennt und schätzt. Während Ferdi mit Zoppo Trump aktiv war, spielte Molly erfolgreich mit Breakfast und später u. a. mit den Strandjung’s ( die „deutschen“ Beach Boys).
Thomas Middendorf ( Schlagzeug ) ist von Beginn an in der Band und sorgt für den nötigen Groove und Drive. Bei seinen Soli lässt er seinem Können freien Lauf und nutzt dabei alle Möglichkeiten des Instrumentes aus – sehr dynamisch, sehr virtuos – immer wieder eines der Highlights bei einem Blues Unlimited Konzert.
Schlagzeug und Bass bringen den Druck, das Fundament und bilden eine rhythmische, unerschütterliche Bastion auf die sich die Gitarre bei ihren Improvisationen – mal kreischend, heulend, leise singend oder beim Bottleneckspiel mit ineinander fließenden Tönen – verlassen kann. Auf diese Basis stützt sich der ausdruckstarke und markante Gesang von Ferdi Eberth. Auch Molly Schreiber singt solistisch und das erweitert das Bandspektrum sehr, da nun auch zweistimmig gearbeitet wird.
Im Repertoire der Band finden sich Stücke der legendären Bluesgrößen, Songs der moderneren Blues- und Rockszene und viele Kompositionen von Ferdi Eberth. Dazu kommen hochinteressante, zum Teil Reharmonisierte Arrangements sehr bekannter Songs – alles so arrangiert, dass Blues Unlimited als Trio den Stücken gerecht werden kann.
Große Erfolge feierte die Band bei Konzerten mit Miller Anderson, Stan Webb’s Chicken Shack, Vdelli, Henrik Freischlader, beim 6. und 9.Int. Bluesfestival im Bürgerzentrum Alter Schlachthof in Soest, beim Bluesfestival Kamen und im Jazz Club Blue Notez in Dortmund, sowie bei vielen Auftritten in ganz Deutschland.
Reimund „Ferdi“ Eberth ( Git., Gesang )
Horst „Molly“ Schreiber ( Baß, Gesang )
Thomas Middendorf ( Schlagzeug )
Wer 1a handgemachte Bluesmusik live erleben will, der ist bei Blues Unlimited genau richtig.
Blues unlimited - "Good Morning Blues"
live @ Maschinchen Buntes, Witten
16.08.2014
Reimund "Ferdi" Eberth - Guitar, Vocals
Horst "Molly" Schreiber - Bass
Thomas Middendorf - Drums
https://www.youtube.com/watch?v=CHH3LbhNOIs
Nancy Lee / Chevrolet // BLUES UNLIMITED at Domicil Dortmund 2015-12-11
:format(jpeg):mode_rgb():quality(40)/discogs-images/A-256012-1107815527.jpg.jpg)
http://www.discogs.com/artist/256012-Earl-Bostic
Eugene Earl Bostic (* 25. April 1913 in Tulsa, Oklahoma; † 28. Oktober 1965 in Rochester, New York State) war ein US-amerikanischer Altsaxophonist, Arrangeur und Komponist im Jazz und später im Rhythm and Blues und der Tanzmusik.
Am bekanntesten war Bostic für seinen markanten Alt-Saxophon-Sound. Außerdem spielte er Tenor-Saxophon, Flöte und Klarinette. Der romantische, aber auch zupackende Klang der Bostic-Band, üblicherweise in der Besetzung Gene Redd, Vibraphon, Fletcher Smith, Piano, Margo Gibson, Bass, Charles Walton, Schlagzeug und Alan Seltzer, Gitarre sowie Earl Bostic auf dem Alt-Saxophon war einer der unverkennbaren Sounds sowohl des Jazz wie auch des Rhythm and Blues. Seine Plattenaufnahmen waren in den 1950er-Jahren „Dauerbrenner“ in den Musikautomaten.
Bostic genoss eine elementare Ausbildung als Musiker und erhielt von der Xavier Universität (New Orleans, Louisiana) eine Auszeichnung in Musik-Theorie. Er zog 1938 nach New York City und gründete eine Jazz-Combo. In den frühen 1940er-Jahren spiele er in der Band von Lionel Hampton. 1945 verließ er Hampton, gründete erneut eine Combo, mit der er für das Plattenlabel Majestic einige Aufnahmen machte. Der große Erfolg blieb allerdings aus, bis er 1948 beim Label Gotham in New York einen Vertrag abschloss und sich dem Rhythm and Blues zuwendete. Mit dem Musikstück Temptation hatte er unmittelbar Erfolg (US R&B-Charts Nr. 10).
Im Laufe der 1950er-Jahre nahm Bostic viel für das Label King Records aus Cincinnati auf, wo er zwei sehr erfolgreiche Singles herausbrachte: Sleep (US R&B Nr. 6) und 1951 seinen größten Erfolg Flamingo (US R&B Nummer 1). Die Interpretation des letzteren wurde zu seinem Markenzeichen. In den 1960er-Jahren nahm er für King Records etliche Alben auf, deren musikalischer Stil zunehmend in Richtung des Soul-Jazz tendierte.
Am 28. Oktober 1965 erlag er einem schweren Herzinfarkt während eines Auftritts in Rochester, NY.
Am bekanntesten war Bostic für seinen markanten Alt-Saxophon-Sound. Außerdem spielte er Tenor-Saxophon, Flöte und Klarinette. Der romantische, aber auch zupackende Klang der Bostic-Band, üblicherweise in der Besetzung Gene Redd, Vibraphon, Fletcher Smith, Piano, Margo Gibson, Bass, Charles Walton, Schlagzeug und Alan Seltzer, Gitarre sowie Earl Bostic auf dem Alt-Saxophon war einer der unverkennbaren Sounds sowohl des Jazz wie auch des Rhythm and Blues. Seine Plattenaufnahmen waren in den 1950er-Jahren „Dauerbrenner“ in den Musikautomaten.
Bostic genoss eine elementare Ausbildung als Musiker und erhielt von der Xavier Universität (New Orleans, Louisiana) eine Auszeichnung in Musik-Theorie. Er zog 1938 nach New York City und gründete eine Jazz-Combo. In den frühen 1940er-Jahren spiele er in der Band von Lionel Hampton. 1945 verließ er Hampton, gründete erneut eine Combo, mit der er für das Plattenlabel Majestic einige Aufnahmen machte. Der große Erfolg blieb allerdings aus, bis er 1948 beim Label Gotham in New York einen Vertrag abschloss und sich dem Rhythm and Blues zuwendete. Mit dem Musikstück Temptation hatte er unmittelbar Erfolg (US R&B-Charts Nr. 10).
Im Laufe der 1950er-Jahre nahm Bostic viel für das Label King Records aus Cincinnati auf, wo er zwei sehr erfolgreiche Singles herausbrachte: Sleep (US R&B Nr. 6) und 1951 seinen größten Erfolg Flamingo (US R&B Nummer 1). Die Interpretation des letzteren wurde zu seinem Markenzeichen. In den 1960er-Jahren nahm er für King Records etliche Alben auf, deren musikalischer Stil zunehmend in Richtung des Soul-Jazz tendierte.
Am 28. Oktober 1965 erlag er einem schweren Herzinfarkt während eines Auftritts in Rochester, NY.
http://de.wikipedia.org/wiki/Earl_Bostic
Earl Bostic (April 25, 1912 – October 28, 1965) was an American jazz alto saxophonist and a pioneer of the post-war American rhythm and blues style. He had a number of popular hits such as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep", "Special Delivery Stomp" and "Where or When", which all showed off his characteristic growl on the horn. He was a major influence on John Coltrane.[1]
Career
Bostic was born April 25, 1912, in Tulsa, Oklahoma. He turned professional at the age of 18 when he joined Terence Holder's "Twelve Clouds of Joy". Bostic made his first recording with Lionel Hampton in October 1939, with Charlie Christian, Clyde Hart and Big Sid Catlett. Before that he performed with Fate Marable on New Orleans riverboats. Bostic graduated from Xavier University in New Orleans. He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries. In 1938, and in 1944, Bostic led the house band at Smalls Paradise.[2] While playing at Small's Paradise, he doubled on guitar and trumpet. During the early 1940s, he was a well-respected regular at the famous jam sessions held at Minton's Playhouse. He formed his own band in 1945 and made the first recordings under his own name for the Majestic label. He turned to rhythm and blues in the late 1940s. His biggest hits were "Temptation", "Sleep", "Flamingo", "You Go to My Head" and "Cherokee". At various times his band included Keter Betts, Jaki Byard, Benny Carter, John Coltrane, Teddy Edwards, Benny Golson, Blue Mitchell, Tony Scott, Cliff Smalls, Sir Charles Thompson, Stanley Turrentine, Tommy Turrentine and other musicians who rose to prominence, especially in jazz.
Bostic's King album entitled Jazz As I Feel It featured Shelly Manne on drums, Joe Pass on guitar and Richard "Groove" Holmes on organ. Bostic recorded A New Sound about one month later, again featuring Holmes and Pass. These recordings allowed Bostic to stretch out beyond the three-minute limit imposed by the 45 RPM format. Bostic was pleased with the sessions, which highlight his total mastery of the blues but they also foreshadowed musical advances that were later evident in the work of John Coltrane and Eric Dolphy.
He wrote arrangements for Paul Whiteman, Louis Prima, Lionel Hampton, Gene Krupa, Artie Shaw, Hot Lips Page, Jack Teagarden, Ina Ray Hutton and Alvino Rey.
His songwriting hits include "Let Me Off Uptown", performed by Anita O'Day and Roy Eldridge, and "Brooklyn Boogie", which featured Louis Prima and members of the Brooklyn Dodgers.
Bostic's signature hit, "Flamingo" was recorded in 1951 and remains a favorite among followers of Carolina Beach Music in South Carolina, North Carolina and Virginia.
During the early 1950s Bostic lived with his wife in Addisleigh Park in St. Albans, Queens, in New York City, where many other jazz stars made their home.[3] After that he moved to Los Angeles, where he concentrated on writing arrangements after suffering a heart attack. He opened his own R&B club in Los Angeles, known as the Flying Fox.
Death
Bostic died October 28, 1965 from a heart attack in Rochester, New York, while performing with his band. He was buried in Southern California's Inglewood Park Cemetery on November 2, 1965. Honorary pallbearers at the funeral included Slappy White and Louis Prima. Today he rests under a simple black slate gravemarker inscribed with his name, birth/death dates and a solo saxophone, located not far from other musical luminaries as Chet Baker, Ray Charles, and Ella Fitzgerald, who was born exactly five years after Earl. Bostic was inducted into the Oklahoma Jazz Hall of Fame in 1993.
Style and influence
Bostic was influenced by Sidney Bechet and (according to James Moody) John Coltrane was in turn influenced by Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick." Moody mentioned that "Bostic knew his instrument inside out, back to front and upside down." If one listens carefully to Bostic's fabulous stop time choruses and his extended solo work, the roots of Coltrane's "sheets of sound" become clear.
Bostic's early jazz solos bear similarity to Benny Carter's long flowing lines. Other influences on Bostic include European concert music, bebop and the sounds associated with his Oklahoma roots. Bostic admitted that he was interested in selling records and he went as far as to write out his popular solos note for note in order to please his admiring fans during concerts. Nonetheless, Bostic was always ready to improvise brilliantly during his live performances.
Bostic's virtuosity on the saxophone was legendary, and is evident on records such as "Up There in Orbit", "Earl's Imagination", "Apollo Theater Jump", "All On", "Artistry by Bostic", "Telestar Drive", "Liza", "Lady Be Good" and "Tiger Rag". He was famous as a peerless jammer who held his own against Charlie Parker. The alto saxophonist Sweet Papa Lou Donaldson recalled seeing Parker get burned by Bostic during one such jam session at Minton's. Donaldson said that Bostic "was the greatest saxophone player I ever knew. Bostic was down at Minton's and Charlie Parker came in there. They played "Sweet Georgia Brown" or something and he gave Charlie Parker a saxophone lesson. Now you'd see him, we'd run up there and think that we're going to blow him out, and he'd make you look like a fool. Cause he'd play three octaves, louder, stronger and faster."[4] Art Blakey remarked that "Nobody knew more about the saxophone than Bostic, I mean technically, and that includes Bird. Working with Bostic was like attending a university of the saxophone.When Coltrane played with Bostic, I know he learned a lot."[1] Victor Schonfield pointed out that "...his greatest gift was the way he communicated through his horn a triumphant joy in playing and being, much like Louis Armstrong and only a few others have done."[5] He was able to control the horn from low A without using his knee[6] up into the altissimo range years before other saxophonists dared to stray. Bostic was able to play melodies in the altissimo range with perfect execution. He could play wonderfully in any key at any tempo over any changes. Benny Golson, who called Bostic "the best technician I ever heard in my life," mentioned that "He could start from the bottom of the horn and skip over notes, voicing it up the horn like a guitar would. He had circular breathing before I even knew what circular breathing was – we're talking about the early 50s. He had innumerable ways of playing one particular note. He could double tongue, triple tongue. It was incredible what he could do, and he helped me by showing me many technical things." Bostic used a Beechler mouthpiece with a tenor saxophone reed on his Martin Committee model alto sax.
Bostic was a master of the blues and he used this skill in a variety of musical settings. Although he recorded many commercial albums, some notable jazz based exceptions on the King label include Bostic Rocks Hits of the Swing Age, Jazz As I Feel It and A New Sound. Compositions such as "The Major and the Minor" and "Earl's Imagination" display a solid knowledge of harmony. In 1951, Bostic successfully toured with Dinah Washington on the R&B circuit.[7] Bostic was always well dressed and articulate during interviews. His live performances provided an opportunity for a departure from his commercial efforts and those who witnessed these shows remember him driving audiences into a frenzy with dazzling technical displays. Always the consummate showman, he appeared on the Soupy Sales TV show and performed the "Soupy Shuffle" better than Soupy while playing the saxophone.[8]
During the late 1940s Bostic changed his style in a successful attempt to reach a wider audience.The new sound incorporated his unmistakable rasp or growl,shorter lines than in his jazz based recordings,emphasis on a danceable back beat and a new way of wringing"...the greatest possible rhythmic value from every note and phrase."[5] Bostic showed off the new approach in his hit "Temptation" which reached the Top Ten of the R&B chart during the summer of 1948. The addition of Gene Redd on vibes in 1950 rounded out the Bostic sound and he used the vibes on his major hits such as "Flamingo" in 1951. The 1956 version of "Where or When" features Bostic growling through the mid-range of the instrument behind a heavy backbeat and loud bass and it is a marked departure from his approach to the same tune recorded on Gotham in 1947 which showed off his sweet "singing' in the upper register with barely audible percussion. Bostic proved that saxophone instrumentals could climb the hit charts and other saxists with hits including Boots Randolph and Stanley Turrentine have acknowledged his influence.
In February 1959 Bostic was voted No. 2 jazz alto sax in the Playboy jazz poll over leading saxists including Cannonball Adderley and Sonny Stitt.[9] He recorded an inimitable version of "All The Things You Are" released on the Playboy label. In August 1959, he performed at the famous Playboy Jazz Festival in Chicago on the same bill as the major jazz stars of the time.
Bostic discussed his approach to improvising in an interview with Kurt Mohr. "Of course I am maybe one of the few musicians who like simple recurring melody patterns and in all my playing I try to keep a basic melody line in my mind and attempt to develop meaningful inversions and variations...I like the basic blues.... The blues has it all; basic rhythmic quality, genuine lyric content,essential and basic chord structure and maybe above all else, personality. Blues and jazz are inseparable."[10]
Bostic's recording career was diverse and it included small group swing-based jazz, big band jazz, jump blues, organ-based combos and a string of commercial successes.
Career
Bostic was born April 25, 1912, in Tulsa, Oklahoma. He turned professional at the age of 18 when he joined Terence Holder's "Twelve Clouds of Joy". Bostic made his first recording with Lionel Hampton in October 1939, with Charlie Christian, Clyde Hart and Big Sid Catlett. Before that he performed with Fate Marable on New Orleans riverboats. Bostic graduated from Xavier University in New Orleans. He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries. In 1938, and in 1944, Bostic led the house band at Smalls Paradise.[2] While playing at Small's Paradise, he doubled on guitar and trumpet. During the early 1940s, he was a well-respected regular at the famous jam sessions held at Minton's Playhouse. He formed his own band in 1945 and made the first recordings under his own name for the Majestic label. He turned to rhythm and blues in the late 1940s. His biggest hits were "Temptation", "Sleep", "Flamingo", "You Go to My Head" and "Cherokee". At various times his band included Keter Betts, Jaki Byard, Benny Carter, John Coltrane, Teddy Edwards, Benny Golson, Blue Mitchell, Tony Scott, Cliff Smalls, Sir Charles Thompson, Stanley Turrentine, Tommy Turrentine and other musicians who rose to prominence, especially in jazz.
Bostic's King album entitled Jazz As I Feel It featured Shelly Manne on drums, Joe Pass on guitar and Richard "Groove" Holmes on organ. Bostic recorded A New Sound about one month later, again featuring Holmes and Pass. These recordings allowed Bostic to stretch out beyond the three-minute limit imposed by the 45 RPM format. Bostic was pleased with the sessions, which highlight his total mastery of the blues but they also foreshadowed musical advances that were later evident in the work of John Coltrane and Eric Dolphy.
He wrote arrangements for Paul Whiteman, Louis Prima, Lionel Hampton, Gene Krupa, Artie Shaw, Hot Lips Page, Jack Teagarden, Ina Ray Hutton and Alvino Rey.
His songwriting hits include "Let Me Off Uptown", performed by Anita O'Day and Roy Eldridge, and "Brooklyn Boogie", which featured Louis Prima and members of the Brooklyn Dodgers.
Bostic's signature hit, "Flamingo" was recorded in 1951 and remains a favorite among followers of Carolina Beach Music in South Carolina, North Carolina and Virginia.
During the early 1950s Bostic lived with his wife in Addisleigh Park in St. Albans, Queens, in New York City, where many other jazz stars made their home.[3] After that he moved to Los Angeles, where he concentrated on writing arrangements after suffering a heart attack. He opened his own R&B club in Los Angeles, known as the Flying Fox.
Death
Bostic died October 28, 1965 from a heart attack in Rochester, New York, while performing with his band. He was buried in Southern California's Inglewood Park Cemetery on November 2, 1965. Honorary pallbearers at the funeral included Slappy White and Louis Prima. Today he rests under a simple black slate gravemarker inscribed with his name, birth/death dates and a solo saxophone, located not far from other musical luminaries as Chet Baker, Ray Charles, and Ella Fitzgerald, who was born exactly five years after Earl. Bostic was inducted into the Oklahoma Jazz Hall of Fame in 1993.
Style and influence
Bostic was influenced by Sidney Bechet and (according to James Moody) John Coltrane was in turn influenced by Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick." Moody mentioned that "Bostic knew his instrument inside out, back to front and upside down." If one listens carefully to Bostic's fabulous stop time choruses and his extended solo work, the roots of Coltrane's "sheets of sound" become clear.
Bostic's early jazz solos bear similarity to Benny Carter's long flowing lines. Other influences on Bostic include European concert music, bebop and the sounds associated with his Oklahoma roots. Bostic admitted that he was interested in selling records and he went as far as to write out his popular solos note for note in order to please his admiring fans during concerts. Nonetheless, Bostic was always ready to improvise brilliantly during his live performances.
Bostic's virtuosity on the saxophone was legendary, and is evident on records such as "Up There in Orbit", "Earl's Imagination", "Apollo Theater Jump", "All On", "Artistry by Bostic", "Telestar Drive", "Liza", "Lady Be Good" and "Tiger Rag". He was famous as a peerless jammer who held his own against Charlie Parker. The alto saxophonist Sweet Papa Lou Donaldson recalled seeing Parker get burned by Bostic during one such jam session at Minton's. Donaldson said that Bostic "was the greatest saxophone player I ever knew. Bostic was down at Minton's and Charlie Parker came in there. They played "Sweet Georgia Brown" or something and he gave Charlie Parker a saxophone lesson. Now you'd see him, we'd run up there and think that we're going to blow him out, and he'd make you look like a fool. Cause he'd play three octaves, louder, stronger and faster."[4] Art Blakey remarked that "Nobody knew more about the saxophone than Bostic, I mean technically, and that includes Bird. Working with Bostic was like attending a university of the saxophone.When Coltrane played with Bostic, I know he learned a lot."[1] Victor Schonfield pointed out that "...his greatest gift was the way he communicated through his horn a triumphant joy in playing and being, much like Louis Armstrong and only a few others have done."[5] He was able to control the horn from low A without using his knee[6] up into the altissimo range years before other saxophonists dared to stray. Bostic was able to play melodies in the altissimo range with perfect execution. He could play wonderfully in any key at any tempo over any changes. Benny Golson, who called Bostic "the best technician I ever heard in my life," mentioned that "He could start from the bottom of the horn and skip over notes, voicing it up the horn like a guitar would. He had circular breathing before I even knew what circular breathing was – we're talking about the early 50s. He had innumerable ways of playing one particular note. He could double tongue, triple tongue. It was incredible what he could do, and he helped me by showing me many technical things." Bostic used a Beechler mouthpiece with a tenor saxophone reed on his Martin Committee model alto sax.
Bostic was a master of the blues and he used this skill in a variety of musical settings. Although he recorded many commercial albums, some notable jazz based exceptions on the King label include Bostic Rocks Hits of the Swing Age, Jazz As I Feel It and A New Sound. Compositions such as "The Major and the Minor" and "Earl's Imagination" display a solid knowledge of harmony. In 1951, Bostic successfully toured with Dinah Washington on the R&B circuit.[7] Bostic was always well dressed and articulate during interviews. His live performances provided an opportunity for a departure from his commercial efforts and those who witnessed these shows remember him driving audiences into a frenzy with dazzling technical displays. Always the consummate showman, he appeared on the Soupy Sales TV show and performed the "Soupy Shuffle" better than Soupy while playing the saxophone.[8]
During the late 1940s Bostic changed his style in a successful attempt to reach a wider audience.The new sound incorporated his unmistakable rasp or growl,shorter lines than in his jazz based recordings,emphasis on a danceable back beat and a new way of wringing"...the greatest possible rhythmic value from every note and phrase."[5] Bostic showed off the new approach in his hit "Temptation" which reached the Top Ten of the R&B chart during the summer of 1948. The addition of Gene Redd on vibes in 1950 rounded out the Bostic sound and he used the vibes on his major hits such as "Flamingo" in 1951. The 1956 version of "Where or When" features Bostic growling through the mid-range of the instrument behind a heavy backbeat and loud bass and it is a marked departure from his approach to the same tune recorded on Gotham in 1947 which showed off his sweet "singing' in the upper register with barely audible percussion. Bostic proved that saxophone instrumentals could climb the hit charts and other saxists with hits including Boots Randolph and Stanley Turrentine have acknowledged his influence.
In February 1959 Bostic was voted No. 2 jazz alto sax in the Playboy jazz poll over leading saxists including Cannonball Adderley and Sonny Stitt.[9] He recorded an inimitable version of "All The Things You Are" released on the Playboy label. In August 1959, he performed at the famous Playboy Jazz Festival in Chicago on the same bill as the major jazz stars of the time.
Bostic discussed his approach to improvising in an interview with Kurt Mohr. "Of course I am maybe one of the few musicians who like simple recurring melody patterns and in all my playing I try to keep a basic melody line in my mind and attempt to develop meaningful inversions and variations...I like the basic blues.... The blues has it all; basic rhythmic quality, genuine lyric content,essential and basic chord structure and maybe above all else, personality. Blues and jazz are inseparable."[10]
Bostic's recording career was diverse and it included small group swing-based jazz, big band jazz, jump blues, organ-based combos and a string of commercial successes.
Earl Bostic - Night Train
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