1913 Blue Lu Barker*
1942 John P. Hammond*
1944 Kenny Wayne*
1965 Candye Kane*
1968 Debbie Bond*
Happy Birthday
Debbie Bond *13.11.1968
In Alabama zählt Sängerin/Gitarristin Debbie Bonds zu den Elder Statesmen der Bluesszene. Seit sie vor über dreißig Jahren in den Bundesstaat gezogen war, hat sie unter anderem mit Johnny Shines, Eddie Kirkland, Sam Lay und Willie King gearbeitet. Letzterer machte sie mit dem in England aufgewachsenen Musiker Rick Asherson bekannt. Und der klassisch ausgebildete Multiinstrumentalist ist inzwischen Bandleader ihrer Trudats, die im April 2013 eingeladen wurden, bei der Mando Blues Show des Senders WRFN in Nashville zu spielen. Nachdem man die Bänder der Sendung gehört hatte, beschloss man spontan, daraus ein neues Album zu machen.
Singer, guitar player and songwriter Debbie Bond has been paying her dues in the Alabama backwoods for over 30 years backing many traditional Alabama blues musicians in the US and Europe, including Eddie Kirkland, Jerry "Boogie" McCain and Willie King. She is a blues activist and founded the award winning Alabama Blues Project, a non profit that promotes and preserves Alabama blues. In recent years she has turned to fronting her own band and performing her own music.
Debbie's singing has been compared to Maria Muldaur and Bonnie Raitt, both of whom she cites as musical influences but the truth is that Debbie does it her way. Her immersion in the blues has deeply flavored her guitar playing, soulful voice and original song writing, yet her sound is contemporary and original, incorporating soul, blues, rock, jazz and even country influences. Her partner in life and music, British born Rick Asherson, is an outstanding keyboard player and gives their music a honky-tonk, New Orleans flavored sound. This unique musical synthesis can be heard on her latest album, That Thing Called Love.
Born in California, her family moved to Europe when Debbie was eight years old. In 1979, Bond moved back to the US and settled in Alabama where she worked with many of the blues masters, sharing her band with the late, great Johnny Shines. Together, they performed at many Southern clubs and festivals from 1981 until his death in 1992. She continued to work alongside great Alabama bluesmen, such as Jerry Boogie McCain, James Peterson, Eddie Kirkland, Sam Lay, Little Jimmy Reed, Willie King and more.
Inspired by Johnny Shines, Bond co-founded the Alabama Blues Project to promote and preserve the state's blues heritage in 1995. That year she also toured England, Ireland, Scotland, Germany and Luxemburg opening for the Alabama duo Little Whitt and Big Bo. In 1997 she was included on a live compilation, Alabama Blues Showcase, released by the Alabama Blues Society. Through this period Bond continued to perform with her own band at clubs and festivals in Alabama; a regular at City Stages, Kentuck Festival, W.C. Handy Festival and the Chukker.
1998 saw the release of her debut album, What Goes Around Comes Around. In 2001 she was featured as one of the artist on Germany’s Taxim Records' compilation Blues From the Heart of Dixie. With the Alabama Blues Project, she performed many "Blues in the Schools" programs and showcase concerts, often with Big Bo McGee until his untimely death in 2002. She returned to school during this period to enhance her blues education work and received an MA in American Studies, specializing in the blues, in 2002. That year she also received an Alabama/Georgia State Council on the Arts Apprenticeship Award to study guitar with Eddie Kirkland, with whom she often performed and presented school programs until his death in 2011.
In 2002 she restructured the award-winning Alabama Blues Project (ABP) into an educational non-profit. The ABP school programs and showcases featured many of the great Alabama blues musicians with whom she regularly performed. Through the ABP she impacted thousands of students of all ages and received multiple arts and education awards, including a KBA from the Blues Foundation in 2004. Bond is also listed as an Alabama Music Hall of Fame Music Achiever.
Bond played second guitar for Alabama blues man Willie King in his band the Liberators from 2003 until his death untimely death in 2009 and also recorded on his last two albums. With King, she toured in the US from backwoods house parties and juke joints to well-known venues and festivals, including King's own Freedom Creek Blues Festival in Old Memphis, AL, the Highway 61 Blues Festival in Leland, MS, Ground Zero Blues Club, the Sunflower Festival and the Juke Joint Festival in Clarksdale, MS, the great King Biscuit Festival in Helena, AR, and the Richmond Folk Festival in VA. Overseas, Bond performed with King at many European festivals, including the Cognac Blues Passions Festival in Cognac, France, the Roots and Blues Festival in Parma, Italy, and the Blues 'n' Jazz festival in Rapperswil, Switzerland. It was through Willie King that she met British keyboard/harmonica player Rick Asherson and they soon formed a musical and life partnership, including getting married on Freedom Creek with Willie King as their best man!
More recently, Debbie has been performing with other notable and talented Alabama blues women in the state, such as Carroline Shines (daughter of Johnny), Shar Baby, Rachel Edwards, Sweet Claudette, and B.J. Miller. As a member of blues women showcase performances, Debbie has performed across the state, from the City of Mobile's Arts Alive Festival to the Ritz Theater in Muscle Shoals. The Alabama Bureau of Tourism declared 2011 to be the Year of Alabama Music and Debbie has featured in many Alabama music promotions, including The Oxford American, Southern Living Magazine and a PBS documentary on Alabama music. Last but not least, after years of immersion in Alabama blues, Debbie is now focusing on her own original music. In late 2011, she released her sophomore album, Hearts Are Wild and in 2014 her critically acclaimed live CD, That Thing Called Love.
Wishbone - words and music by Debbie Bond and Rick Asherson
John P. Hammond *13.11.1942
John Paul Hammond (* 13. November 1942 in New York City), auch bekannt unter dem Namen John Hammond Jr., ist ein US-amerikanischer Bluessänger und -Gitarrist. Er ist der Sohn des bekannten Musikproduzenten und Talent-Scouts John H. Hammond. Er wuchs aber nicht mit seinem Vater auf, da sich seine Eltern trennten, und er seinen Vater nur einige Male im Jahr sah.
Er begann mit dem Gitarrespiel während des Besuchs einer privaten High School und wurde besonders durch das Slide-Gitarrespiel von Jimmy Reed beeinflusst, den er im Apollo Theater live hörte. John Hammond gehört seit dem Beginn der 1960er-Jahren zu den herausragenden Figuren des akustischen Blues. Manche Kritiker bezeichneten ihn sogar als den weißen Robert Johnson. Nicht zu Unrecht, denn Hammond kombiniert kraftvolles Gitarre- und Harmonikaspiel mit einer ausdrucksvollen Stimme und einer würdigen Bühnenpräsenz. Er entdeckte für sich die Nische des Gitarrespielers mit Mundharmonika, der klassischen Blues aus den 30er, 40er und 50er- Jahren spielt. Aufnahmen aus den 90er-Jahren beweisen aber auch die Fähigkeiten Hammonds als Bandleader und E-Gitarrist.[2]
Seit seinem Debüt-Album, herausgegeben 1963 auf Vanguard Records, hat John P. Hammond insgesamt 33 Langspielplatten aufgenommen.[3] Er hat 1985 einen Grammy Award erhalten und ist für vier weitere nominiert worden. Zuletzt ist das Album „Rough & Tough“ erschienen.
Auszeichnungen
Grammy
2010 Grammy Nominierung für "Rough & Tough" (Best Traditional Blues Album)
2006 Grammy Nominierung In Your Arms Again
2002 Grammy Nominierung als Best Historical Album: Washington Square Memoirs Box Set
(John Hammond spielt "Drop Down Mama")
1999 Grammy Nominierung Long As I Have You
1998 Grammy Nominierung Found True Love
1994 Grammy Nominierung Trouble No More
1993 Grammy Nominierung Got Love If You Want It
1985 Grammy für Blues Explosion, einer Zusammenstellung vom Montreux Jazz Festival mit
Stevie Ray Vaughan, Koko Taylor und anderen
Blues Music Award
Blues Music Award: 2004 und 2003 als Best Acoustic Blues Artist, 2002 für Best Acoustic
Album Wicked Grin
2010 Blues Music Award Nominierung Things About Comin’ My Way – A Tribute to the music
of the Mississippi Sheiks (Acoustic Album of the Year)
John Paul Hammond (born November 13, 1942, New York City, United States)[1] is an American blues singer and guitarist. The son of record producer John H. Hammond, he is sometimes referred to as "John Hammond, Jr.".
Background
Hammond was a son of the famed record producer and talent scout John Henry Hammond, Jr. and his first wife, Jemison McBride, an actress. He is a descendant of Cornelius Vanderbilt, founder of the prominent Vanderbilt family.[2] He has a brother, Jason, and by his father's second marriage to Esme O'Brien Sarnoff, he has a stepsister, (Esme) Rosita Sarnoff. Hammond's middle name, Paul, is in honor of a friend of his father, the actor Paul Robeson. However, the younger Hammond was raised by his mother and only saw his father a few times a year while growing up.
He began playing guitar in high school, partially inspired by the album Jimmy Reed at Carnegie Hall. He attended Antioch College for one year, but dropped out to pursue a music career. By the mid-1960s he was touring nationally and living in Greenwich Village. He befriended and recorded with many electric blues musicians in New York, including Jimi Hendrix, Eric Clapton, The Hawks (later known as The Band), Dr. John and Duane Allman.
Career
Hammond usually plays acoustically, choosing National Reso-Phonic Guitars and sings in a barrelhouse style. Since 1962, when he made his debut on Vanguard Records, Hammond has made thirty-four albums. In the 1990s he began recording on the Point Blank Records label. Hammond has earned one Grammy Award and been nominated for four others. He also provided the soundtrack for the 1970 film, Little Big Man, starring Dustin Hoffman.
Although critically acclaimed, Hammond has received only moderate commercial success. Nonetheless, he enjoys a strong fan base and has earned respect from the likes of John Lee Hooker, Roosevelt Sykes, Duane Allman, Willy Deville, Robbie Robertson, Mike Bloomfield and Charlie Musselwhite, all of whom have contributed their musical talents to Hammond's records. In addition, he is the only person who ever had both Eric Clapton and Jimi Hendrix in his band at the same time, if only for five days in the 1960s when Hammond played The Gaslight Cafe in New York City.[3] To his regret, they never recorded together. It has been suggested by at least one author that Hammond deserves some credit for helping boost The Band to wider recognition. He recorded with several of the members of The Band in 1965, and recommended them to Bob Dylan, with whom they undertook a famed and tumultuous world tour.[4]
Hammond performing in the 1980s
Hammond hosted the 1991 UK television documentary The Search for Robert Johnson, detailing the life of the legendary Delta bluesman Robert Johnson.
Hammond has had a longstanding friendship with the songwriter Tom Waits, and has performed Waits' songs on occasion. In 2001, he released Wicked Grin, an album entirely of Tom Waits compositions with one exception, the traditional spiritual, "I Know I've Been Changed." Waits himself provided guitar work and backing vocals as well as producing the project.
In 2002, he released Ready for Love, produced by David Hidalgo of Los Lobos fame.[1] It included a cover version of Mick Jagger and Keith Richards' "The Spider and the Fly".
His 2009 album, entitled Rough and Tough, was a 2010 nominee for the Grammy Award for Best Traditional Blues Album[5]
In 2011, Hammond was inducted into the Blues Hall of Fame of the Blues Foundation.[6]
Personal life
Hammond married his first wife, Dana McDevitt, a daughter of John Burke McDevitt, on October 21, 1967.[7] They later divorced.
In 1981, Hammond married his second wife, Marla.
Blue Lu Barker *13.11.1913
Blue Lu Barker (* 13. November 1913 in New Orleans als Louisa Dupont; † 7. Mai 1998 ebenda) war eine US-amerikanische Jazz- und Bluessängerin.
Blue Lu Barker war bereits seit ihrem 14. Lebensjahr mit Danny Barker verheiratet, mit dem sie 1930 nach New York City zog. In den 1930er und 1940er Jahren stand sie häufig mit Cab Calloway und Jelly Roll Morton auf der Bühne. Sie machte zwischen 1938 und 1939 und danach wieder in den 1940er Jahren mit dem Orchester ihres Mannes Plattenaufnahmen, bei denen auf einer Session auch Charlie Parker beteiligt war. Ihre bekanntesten Titel waren I Got Ways Like The Devil, New Orleans Blues, He Caught The B And O und Don't Make Me High (von 1938). Die Sängerin konnte nur zwei Hits in den Billboard Top 30 landen, im November 1938 „Don't Make Me High“ (#15) für Decca, begleitet von Benny Carter, Buster Bailey, Sam Price, Danny Barker und Wellman Braud, sowie erst wieder im Dezember 1948 mit „A Little Bird Told Me“ für Capitol (#4).
1997 wurde sie in die Louisiana Blues Hall of Fame aufgenommen. Ihr Begräbnis wurde im Fernsehen übertragen.
Louise "Blue Lu" Barker (née Dupont) (November 13, 1913[1] – May 7, 1998)[2] was an American jazz and blues singer. Her better known recordings included "Don't You Feel My Leg" and "Look What Baby's Got For You."[2]
She was born in New Orleans, Louisiana,[2] and often sang and performed with her husband Danny Barker, a regular of the New Orleans music scene.[3]
The recording of "A Little Bird Told Me" by Barker was released by Capitol Records as catalog number 15308. It first reached the Billboard chart on December 18, 1948 and lasted 14 weeks on the chart, peaking at #4.
Barker was inducted into the Louisiana Blues Hall of Fame in 1997, one year before she died in New Orleans at the age of 84.
She was born in New Orleans, Louisiana,[2] and often sang and performed with her husband Danny Barker, a regular of the New Orleans music scene.[3]
The recording of "A Little Bird Told Me" by Barker was released by Capitol Records as catalog number 15308. It first reached the Billboard chart on December 18, 1948 and lasted 14 weeks on the chart, peaking at #4.
Barker was inducted into the Louisiana Blues Hall of Fame in 1997, one year before she died in New Orleans at the age of 84.
Blu
Lu Barker Don't You Feel My Leg (1946)
Candye Kane *13.11.1965
Biografie
Kindheit und Jugend
Candye Kane wuchs in einem Blue-Collar-Haushalt mit jüdischstämmigen Wurzeln auf.[2] Ihre Kindheit und Jugend verlebte sie in Highland Park, einem Problembezirk in der nordöstlichen Peripherie von Los Angeles. An der örtlichen High School freundete sie sich mit mexikanischstämmigen Jugendlichen aus dem weiteren Umfeld von Jugendgangs an.[3] Dort lernte sie unter anderem, Spanisch zu singen und zu sprechen. Weitere musikalische Gehversuche absolvierte sie mit der Organisation von Konzerten und Musical-Aufführungen in ihrer Nachbarschaft. Mit vierzehn erhielt sie ein Angebot des Musikkonservatoriums der USC. Weil sie mit Oper und klassischer Musik nichts anzufangen wusste, nahm sie dieses allerdings nicht wahr. Mit siebzehn wurde sie das erste Mal schwanger. Aufgrund der beengten Wohnsituation (als alleinerziehende Mutter wohnte sie mit ihren Eltern im selben Haus) sowie der finanziell klammen Situation verdingte sie sich zunächst als Stripperin. Spezialität: Im Unterschied zu anderen strippte sie nicht zu zeitgenössischem Disco-Sound wie beispielsweise dem von Donna Summer, sondern im Neoburlesque-Stil mit Cowboyhut nach der Musik von Bands und Interpreten wie Joe Liggins and the Honey Drippers, Wynonie Harris und Ray Price.[4] Später arbeitete sie als Plus-Size-Pornostar in einer Reihe von Pornofilm-Produktionen. Das während ihrer Zeit als Sexarbeiterin verdiente Geld, so Kane später, habe sie dazu verwendet, ihre musikalische Karriere voranzutreiben sowie professionelle Mitmusiker zu engagieren.[5]
Erste musikalische Orientierungsversuche erfolgten parallel zu ihren Jobs im Sexbusiness. Nach einem kurzen Gastspiel in der lokalen Punk-Rock-Szene erfolgten stilistische Abstecher in die Bereiche Country und Roots Rock. Zeitweilig wirkte Candye Kane parallel bei mehreren Bands mit – zusammen mit zwei Cousins in der Punkcombo The Gemini 3 sowie der für professionellere Auftritte gebildeten Formation Rawhide. Rückblickend beschrieb Kane die 1980er anlässlich mehrerer Gelegenheiten als turbulente Zeit – bestimmt von gemeinsamen Auftritten mit einer Reihe bekannterer Acts wie zum Beispiel Black Flag, Social Distortion, Dwight Yoakam, den Circle Jerks, Los Lobos, The Blasters sowie Lone Justice. Die mit wechselnden Mitmusikern zusammengestellten Country-Formationen errangen mit der Zeit lokale Aufmerksamkeit. Candye Kane wurde von Talentscouts der zum CBS-Konzern gehörenden Plattenfirma Epic Records entdeckt und konnte einen Vorvertrag abschließen. Der fast unter Dach und Fach befindliche Major-Deal scheiterte allerdings. Grund waren zum einen Vorbehalte von CBS, ob Kane in das anvisierte Genre Mainstream-Country passte. Als Ausschlussgrund hinzu kam ihr Nebenjob im Pornometier, von dem das Label zwischenzeitlich Kenntnis erlangt hatte.[6] Ihre Bemühungen, im Nashville-orientierten Country-Genre eine Karriere zu starten, schloss Candye Kane nach diesen Erfahrungen ab. Als Sängerin und Entertainerin entschloss sie sich zu einer weiteren musikalischen Umorientierung – diesmal in Richtung Blues und den expressiven Stil bekannter Nachkriegsinterpretinnen wie Etta James und Ruth Brown.
Karriere als Bluessängerin
1986 zog Candye Kane nach San Diego um. Dort heiratete sie den Bassisten Thomas Yearsley, Mitglied der Rockabilly-Formation The Paladins, mit dem sie 14 Jahre zusammen war und einen Sohn bekam. Darüber hinaus schrieb sie sich am Palomar College ein, wo sie das Fach Woman Studies als Hauptfach belegte. Gesanglich qualifizierte sie sich ebenfalls weiter. Am College beteiligte sie sich an der Inszenierung des bekannten Musicals Oklahoma!.[7] Ein weiterer Ausdruck ihres neuen, tiefer gehenden Interesses an Musik waren erste selbstgeschriebene Songs. Yersleys Paladins fungierten schließlich auch als Produzenten ihrer ersten, 1992 erschienenen und im Selbstverlag distributierten CD Burlesque Swing. Stilistisch gesehen war Burlesque Swing ein stark am Jump Blues der Nachkriegsjahre orientiertes Werk. Ähnlich bläserlastigen Sound offerierte auch die Folge-CD aus dem Jahr 1994: Home Cookin’. Ebenso wie die im Jahr darauf erschienene CD Nummer drei, Knockout, erschien Home Cookin’ auf dem Label des Bluesmusikers und Recordfirma-Betreibers Clifford Antone. Anders als die Vorgänger enthielt Knockout nicht nur Bluesstücke, sondern auch einige Country-orientierte Nummern. Album Nummer vier, Diva la Grande, erschien 1997. Als Produzenten fungierten Derek O’Brien sowie der Roots-Rock-Musiker Dave Alvin. You Need a Great Big Woman und All You Can Eat, zwei eingängige Bluesnummern, avancierten in der Folgezeit zu beliebten Stamm-Nummern bei Live-Konzerten.
Bei unterschiedlichen Klein-Labels erschienen auch die beiden Folge-CDs Swango (1998; Produzent: Mike Vernon) und The Toughest Girl Alive (2000; Produzent: Scott Billington). Stilistisch präsentierte The Toughest Girl Alive unterschiedliche Tempi und Blues-Spielarten – ein Gemisch aus klassischen Rhythm’n’Blues (For Vour Love), Rockabilly-Anklängen (Je n’en peux plus sans na Cadillac) und Nachkriegs-Crooning (Highway of Tears). Die nächsten vier CDs erschienen bei dem im thüringischen Lindewerra ansässigen deutschen Blueslabel Ruf Records: Whole Lotta Love (2003), White Trash Girl (2005), Guitar’d and Feathered (2007) sowie die programmatische Zusammenstellung Blues Caravan: Guitars & Feathers mit Stücken von Candye Kane und den Bluesmusikerinnen Deborah Coleman und Dani Wilde. Die Aufnahmen zu Whole Lotta Love erfolgten im ländlich geprägten, nördlich von Los Angeles gelegenen Topanga Canyon. Mitmusiker waren unter anderem der Gitarrist Charlie Musselwhite, Ex-Little-Feat-Drummer Ritchie Hayward, Canned-Heat-Bassist Larry Taylor sowie der Saxophonist Brandon Fields. Als Titelstück enthielt Whole Lotta Love eine Cover-Interpretation des (seinerseits auf einem Bluesstück von Willie Dixon basierenden) Led-Zeppelin-Rockklassikers Whole Lotta Love. White Trash Girl wartete mit dem von Kane bekannten Mix aus Blues-Stücken auf. Ebenso Guitar’d and Feathered, das im Unterschied zum Vorgängeralbum noch stärker von Rockabilly-Elementen geprägt war.
Parallel zu ihren CD-Veröffentlichungen baute Candye Kane ihre Live-Präsenz aus. Zwischenzeitlich absolvierte die Sängerin mehr als 200 Konzerte im Jahr – darunter Auftritte auf bekannten Jazz- und Blues-Festivals wie dem Ascona Jazz Festival, dem Monterey Jazz Festival und dem Waterfront Blues Festival sowie den Internationalen Filmfestspielen in Cannes. Aufgrund einer Krebserkrankung musste sie eine für 2008 geplante Auftrittsserie absagen. Nach überstandener Krankheit meldete sie sich 2009 mit einem neuen Album zurück. Titel: Superhero – einem noch stärker als die Vorgängeralben von klassischem Blues und Rockabilly geprägtem Werk. Eine weitere Produktion um die Jahrzehntwende war eine autobiografisch geprägte Musikrevue mit dem Titel The Toughest Girl Alive. Dramaturgisch setzte der Regisseur Javier Velasco Kanes Material in Szene. Die Uraufführung fand – nach einer ungefähr zweijährigen Vorlaufzeit – im Januar 2011 im Moxie Theatre in San Diego statt.[6] Das musikalische Material, bestehend aus bekannten sowie zuvor nicht veröffentlichten Titeln, erschien als Best-of-Zusammenstellung unter dem Titel The Best of Candye Kane. Songs from the Stage Play ‚The Toughest Girl Alive‘.
Zusätzlich erschien 2011 eine weitere Studioproduktion, Sister Vagabond. Sie variierte nicht nur das bereits bekannte Stilspektrum der Sängerin. Zusätzlich dokumentierte das neue Album auch Kanes (anlässlich von Live-Konzerten bereits erfolgreich etablierte) Zusammenarbeit mit der Gitarristin Laura Chavez. Titeltechnisch enthielt Sister Vagabond die übliche Mischung aus eigenen und fremden Stücken – etwa das im Stil von Stevie Ray Vaughan eingespielte und von Rod Piazza an der Mundharmonika begleitete Texas-Shuffle Hard Knock Gal sowie der Johnny-Guitar-Watson-Titel I Love To Love You. Folgealbum war eine im Selbstverlag erschienene Live-CD zusammen mit der Bluespianistin Sue Palmer, einer weiteren regelmäßigen Tourbegleiterin Kanes. Titel: One Night in Belgium (2012). Coming Out Swingin’ aus dem Jahr 2013 schließlich – ebenfalls eingespielt mit Laura Chavez – changierte stilistisch zwischen Kane-bekanntem Rhythm’n’Blues und gitarrenbetontem Rockabilly.
Candye Kane wurde mehrfach für die Auszeichnung Blues Music Award nominiert. In ihrer Heimatstadt San Diego erhielt sie mehrere einschlägige Auszeichnungen.[2]
Positionen, Engagement und Kritiken
Als Musikerin sah sich Candye Kane eindeutig in der Tradition des Blues. Zwar hätten in ihrer Kindheit und Jugend Country sowie die zeitgenössische Pop- und Rockmusik eine große Rolle gespielt – Hank Williams beispielsweise, Carole King und Bob Dylan, allerdings auch typische Siebzigerjahre-Bands wie beispielsweise Led Zeppelin.[7] Kane rückblickend über ihre damaligen Musikpräferenzen: „Ich bin ein Kind der späten Siebziger und das war die Musik, die wir uns anhörten. Zu der Zeit war die Musik der Sechziger für uns ‚altmodisch‘ und ich kam dann erst über Umwege zum Blues.“[8] Als musikalische Einflüsse benannte sie vor allem die Sängerinnen des Genres: Bessie Smith, Memphis Minnie, Big Maybelle, Bonnie Raitt, Big Mama Thornton sowie Sister Rosetta Tharpe. Vorbilder seien für sie darüber hinaus die Rockabilly-Interpretinnen Wanda Jackson und Janis Martin, die Countrysängerinnen Patsy Cline und Kitty Wells, die Soul- und Jazzinterpretinnen Aretha Franklin, Dinah Washington und Eartha Kitt, die Show-Entertainerinnen Bette Midler, Sophie Tucker und Mae West sowie der Jazzsaxophonist Ornette Coleman gewesen.[6] Ihre Vorliebe für den Blues erklärte sie wie folgt: „Ich kann nichts Schlechtes über die Bluesklischees sagen. Das Klischee entstand aus einer Not heraus: Durch Menschen, deren Leben so dunkel war, dass nur Musik es ein wenig erhellte. So ging es auch mir.“[9]
Sowohl mit ihrer Tätigkeit in der Sexindustrie als auch mit ihrer späteren Krebserkrankung ging Candye Kane offen um. So habe sie sich nach dem Platzen der Zusammenarbeit mit CBS bewusst dazu entschlossen, unter ihrem alten Namen weiter zu arbeiten – nicht zuletzt deswegen, weil sie unter diesem bereits 1983 Aufnahmen gemacht habe.[10] Persönlich bezeichnete sie sich als sex-positive Feministin; ihre sexuelle Orientierung charakterisierte sie als bisexuell.[5] Politisches Engagement an den Tag legte sie vor allem beim Thema Gewalt gegen Sexarbeiterinnen. Anlässlich des Mordes an einer Prostituierten in San Diego organisierte sie im Rahmen des International Day to End Violence Against Sex Workers eine Mahnwache.[5] Darüber hinaus engagierte sie sich für Aids-Kranke und Kinderspitäler und sprach sich – ungeachtet ihres jüdischen Glaubens – gegen eine einseitige Sichtweise im Nahostkonflikt aus.[11] Ihre Erkrankung verglich sie wiederholt mit der des Apple-Gründers Steve Jobs, bei dem ebenfalls Bauchspeicheldrüsenkrebs diagnostiziert worden war. Die Erkrankung habe ihr gezeigt, wie endlich das Leben sei, und sie motiviert, weiter an ihrer Version des amerikanischen Traums zu arbeiten.[12]
Was die Umsetzung ihrer musikalischen Projekte anbelangt, galt Candye Kane als Netzwerkerin. Ihr ältester Sohn Evan wirkte als Schlagzeuger sowohl an CD-Einspielungen als auch bei Konzertauftritten mit. Darüber hinaus pflegte Kane stark die Zusammenarbeit mit anderen Bluesmusikerinnen – insbesondere der Gitarristin Laura Chavez und der Pianistin Sue Palmer, die zu einer Art festen Begleitbandbesetzung avancierten. Darüber hinaus absolvierte Kane regelmäßig Auftritte mit den beiden Musikerinnen Ana Popović und Sue Foley – wobei einem Interview zufolge Foley ihr den Kontakt zu Chavez vermittelt habe.[10] In Bezug auf die etablierte Bluesszene sah sie sich abseits des Mainstreams. Mit der Ignoranz bestimmter Teile der Bluesszene könne sie allerdings leben. Ausgleichend bekomme sie viel Unterstützung aus der Queer-, Fat-Girl- und Rockabilly-Community.[2] Manche Blues-Fans, insbesondere die Puristen des Genres, sollten sich – so Kanes Ratschlag – stärker mit der Bedeutung von Sexualität für die Geschichte des Genres beschäftigen.[10]
In San Diego und Umgebung galt Candye Kane mit ihrer Begleitband als fest etablierte Größe. Auch überregional und USA-weit wurden ihre Qualitäten als Sängerin und Live-Performerin positiv, zum Teil enthusiastisch hervorgehoben. Das People Magazin bezeichnete Candye Kane als Blues-Diva, die ohne Blutvergießen jede Party auf Vordermann bringe. Der Philadelphia Inquirer charakterisierte sie als ernsthafte, powergeladene Sängerin, die alle mitreiße.[13] Die Washington Post konstatierte ihr eine „Stimme wie ein Naturwunder“. Auch in Deutschland, der Schweiz und benachbarten Ländern stießen Candye Kanes CD-Produktionen und Livekonzerte vorwiegend auf positive Resonanz. Das Online-Magazin Rocktimes schrieb anlässlich der Blues-Caravan-Tournee 2005: „Candye Kane war der Star des Abends. Sie wusste es, das Publikum wusste es, die Band wusste es und Sue Foley und Ana Popovic auch. Aber Candye Kane ließ es zu keiner Zeit heraushängen. Natürlich kamen die beiden Gitarristinnen nach ein paar Songs ebenfalls auf die Bühne und schon agierte plötzlich eine 6-Personen-Formation. Candye Kane schaffte es sogar, das Publikum zum Mitsingen zu animieren.“[14]
Das Schweizer Bluesportal Bluesnews.ch hob vor allem den Wechsel von Jump Blues zu gitarrenbetontem Rockabilly hervor, den die neue Kane-Formation bei einem Auftritt 2012 zelebrierte. Bluesnews.ch: „Candye Kane ist mir seit ihrer CD Swango ein Begriff und das Folgealbum the toughest girl alive von 2000 machten bereit klar: diese Frau hat eine Stimme, die für den Blues geboren ist und trainiert wurde. Ihre musikalische Vielseitigkeit beeindruckte, und sie wurde zu Recht bekannt für ihren fröhlichen Jump Blues mit einer Prise Swing. Arrangements wie jene der frühen Candye Kane mit Bläsersatz und Backgroundsängern gab es am Konzert nicht zu hören. Die Band bestand neben der Sängerin nur noch aus dem Powertrio John Rautmann am Schlagzeug, Kennan Shaw am e-Bass und Laura Chavez an der Gitarre.“
Candace Hogan (November 13, 1961 – May 6, 2016),[1] known professionally as Candye Kane, was an American blues singer and entertainer. She entered a successful music career after being a pornographic actress during porn's golden age.[2][3] She was recognized as an award-winning singer, songwriter, and performer in the blues and jazz genres.[4] She was included in the books Rolling Stone Guide to Jazz and Blues, Elwood's Blues by Dan Aykroyd, The Blueshound Guide to Blues, AllMusic, and other blues books and periodicals.
Early life
Kane was born Candace Hogan in Ventura, California. She was raised in Highland Park, a Los Angeles suburb.[5]
Music career
Candye was accepted into the USC's music conservatory's junior opera program in 1976, but she disliked opera and dropped out. She became part of the punk rock music scene of the early 1980s. She started country punk bands and befriended and shared the stage with musicians as diverse as Black Flag, Social Distortion, James Harman, The Circle Jerks, Los Lobos, The Blasters and Lone Justice.[6] In 1985, she caught the attention of CBS/Epic A&R Head, Larry Hanby. She was signed to a developmental deal and recorded her first demo with Grammy winner Val Garay. Kane was initially marketed as a country singer, but CBS dropped her upon learning of her controversial past.[7]
At seventeen, Kane became pregnant with her first son. When she turned eighteen, she turned to adult modeling and stripping to make some cash, appearing in videos and over 150 magazines from 1983 to 1985.[citation needed] Eventually she worked as a columnist for Gent magazine as well. In 1986, she moved from Los Angeles to San Diego. She married bass player Thomas Yearsley (of rockabilly power trio The Paladins), with whom she had another son.
Kane majored in women's studies at Palomar Community College. She continued to write songs and discovered the brash blues stylings of Big Maybelle, Ruth Brown, Big Mama Thornton, Etta James and Bessie Smith.[8] In 1991, she self-released Burlesque Swing, her first recording since A Town South of Bakersfield. In 1992, she was signed by Clifford Antone to a record deal with Antones Records. Her first CD, Home Cookin', was produced by Yearsley, Cesar Rosas (of Los Lobos), and Dave Gonzales. It was released in 1992 followed by Knock Out. She then signed with Discovery Records, releasing Diva La Grande, produced by Dave Alvin and Derek O'Brien. Next, she was signed by record mogul Seymour Stein to Sire Records during the height of the swing revival.[9]
Candye released Swango, which was produced by Mike Vernon for Sire/London Records; it was her only major label release. This was followed by her Rounder/Bullseye release, The Toughest Girl Alive, produced by Scott Billington. Next she released four CDs on the German Label Ruf Records. Subsequent titles included Whole Lotta Love, produced by Val Garay, and White Trash Girl,[10] produced in Austin by Ruf Records and Mark Kazanoff.[10] In 2007, she released Guitar'd and Feathered on the RUF records label. The CD was produced by former Muddy Waters guitarist Bob Margolin. In 2009, she signed to Delta Groove records and released Superhero in June 2009.[11]
She made a "topless" video for the song, "All You Can Eat", during which she pounded the keyboards with her bare breasts.[12] She dropped this from her act after her first bout with cancer, which caused her to lose over one-hundred pounds and reduced her bust from 44H to 38D.
A stage play about Kane's life debuted at San Diego's Diversionary Theatre[13] in January 2009, directed by Javier Velasco. The play, called The Toughest Girl Alive, was based on Kane's memoir about her turbulent life.[8]
She was included on the 30 Essential Women of the Blues CD set released by the House of Blues record label and the Rock for Choice compilation. She appeared with Lucinda Williams and Dwight Yoakam on Town South of Bakersfield on Enigma Records.
Songwriting
Among the songs that Kane wrote were "The Toughest Girl Alive" (used on the Hidden Palms series for the CW network);[14] "Who Do You Love" (nominated for an OUT music award); "200 Pounds of Fun" (featured in the motion picture, The Girl Next Door); "For Your Love" (included on an episode of The Chris Isaak Show); "Please Tell Me a Lie" (used in the motion picture Heavy, starring Deborah Harry);[15] "You Need a Great Big Woman" (used on the Oxygen Network series Strong Medicine); and "The Lord was a Woman" (recorded by comedian Judy Tenuta).[16]
Later career and touring
At the time of her death, Kane was signed to Los Angeles's Delta Groove records. She toured worldwide more than 250 days a year, and appeared in many prestigious festivals, including the Ascona Jazz Festival, Midem, Paléo Festival, Monterey Jazz Festival, Dubai International Jazz Festival, Waterfront Blues Festival, and Notodden Blues Festival. She played for the President of Italy at the French Embassy in Rome and at the Cannes Film Festival,[17] and her music was often featured on B. B. King's Bluesville on XM radio.[18]
Awards
In 2011, Kane was nominated for two Blues Music Awards by the Blues Foundation, BB King Entertainer of the Year, and Best Contemporary Blues Female.
Kane was nominated for four Blues Music Awards,[19] for the BB King Entertainer of the Year Award, Best Contemporary Blues CD for Superhero, and Best Contemporary Blues Female of 2010.[20] She has won numerous awards, including the Best Blues Band award at the San Diego Music Awards seven times.
Her other recent honors included Best Blues CD of 2005 at the San Diego Music Awards; the Trophees France International Award 2004 for Best International Blues Chanteuse and Artist of the Year. She unseated Jewel for Artist of the Year at the San Diego Music Awards and won the California Music Award for Best Swing-Cabaret Artist. In May 2007, Kane won an award for Best Original Blues composition by the West Coast Songwriters Association for her song, "I'm My Own Worst Enemy."[21] In 2012, Miss Kane received a special Courage in Music Award at the San Diego Music Awards ceremonies.[22]
In 2014, Kane was nominated for a Blues Music Award in the 'Contemporary Blues Female Artist of the Year' category.[23]
Personal life
Kane's known survivors were two grown sons, one of whom, Evan Caleb, played drums in her road band.[6] She appeared often at gay pride festivals worldwide and identified openly as a bisexual.[24] Kane had become an activist and philanthropist in recent years. In August 2009, she appeared in Dublin, Ireland for the World Congress for Down Syndrome with her United by Music charity.[17][25]
Health and death
In March 2008, Kane revealed on her website that she had been diagnosed with pancreatic cancer and was undergoing treatment. This was found to be a neuroendocrine tumor and was successfully resected on April 18, 2008 at UCSD Medical Center/Thornton Hospital.[26]
Kane died from the disease at the Cedars-Sinai Medical Center in Los Angeles on May 6, 2016, aged 54.
Kenny Wayne *13.11.1944
https://www.facebook.com/profile.php?id=100009809464077
Boss Of The Blues – Gentleman Of The Boogie Woogie
Kelowna-based pianist hits all the right keys as he covers boogie, funk and New Orleans-flavored rhythm and blues.
Kenny “Blues Boss” Wayne
Kenny Wayne sums it up in a single song, one of the highlights of Rollin’ With the Blues Boss, his second album for Stony Plain, the independent international roots music label:
They say what I’m doing has been done before
But that’s my reason to do it even more
I’m gonna keep on rockin’
I’m gonna keep on rollin’
Gonna keep on swingin’
Gonna keep on singing
Gonna keep on doing it ‘til my time is up
The new album was produced and recorded in Vancouver by Tom Lavin, leader of Canada’s legendary Powder Blues Band, and it features some of the city’s most creative backup players. It also features guest appearances on one track each from Stony Plain artist Eric Bibb and singer Diunna Greenleaf.
Kenny Wayne’s time certainly isn’t up yet; in fact, it seems like it’s only just starting. Resplendent in one of his many multi-hued French custom-tailored stage suits, he’s a throwback to the golden age of classic rhythm and blues.
Born in Spokane but raised in New Orleans, his powerful music recalls the era when piano players like Fats Domino and Amos Milburn and Bill Doggett worked the chitlin’ circuit on the “strolls” in dozens of American cities. As a one-man cheering section for the days when blues and small jazz bands met the roots of rock and roll, Wayne is unapologetic about the music he plays.
The back-story of a child prodigy who grew up fast
Wayne has been a traveling musician almost all his life, playing in show bands and cover bands in his youth, seeing the world from Texas to Hawaii and from Peoria to Paris.
Rediscovering his own blues roots long ago sent his career into overdrive, thanks to his fresh approach to old music, the drive and roaring good-time attitude of his live performances, and his smartly original self-penned songs.
Wayne was already a child prodigy when, at eight, he moved with his family to Los Angeles, and then to San Francisco. Encouraged by his preacher father, the Reverend Matthew Spruell, to play gospel music, the youngster was also secretly introduced to the radically more exciting boogie-woogie by an uncle.
By his early teen years, Wayne he was playing dozens of gigs in the early ’60s — including a 1961 appearance at the Alpha Bowling Club with the great Jimmy Reed. It was an infamous gig; everything Kenny’s father feared about the ”devil’s music.” A vicious brawl erupted in the crowded, smoky, alcohol-fueled club, and one man attacked another with a broken bottle, blood spraying everywhere. As Kenny recalls with a chuckle, “My dad grabbed my mom with one hand and ran up to the stage and yanked me off the piano bench and led us through the kitchen and out the back exit … That was pretty well the end of my blues career for over 20 years.”
Moving to Vancouver in the early ’80s — “it just seemed like home to me,” Wayne says now — he soon won a strong reputation on the B.C. and Prairies club scene. His full transformation into “Blues Boss” (his nickname came from the title of Amos Milburn’s Motown comeback album) came following a 1994 tour of Europe. Kenny’s longtime passion for boogie-woogie and blues paid off in the form of star treatment from piano-loving European music fans.
Three releases for the independent Canadian label Electro-Fi were all nominated for Juno Awards — Canada’s equivalent of the Grammies, and his 2006 release, “Let it Loose” was a Juno winner.
The applause continued for His Stony Plain debut, 2011’s An Old Rock on a Roll. That CD earned him a Blues Foundation nomination for the Pinetop Perkins Piano Award, and a 2012 Living Blues Awards for “best new contemporary blues recording of 2011” as well as one naming him “most outstanding keyboard musician.”
Highlights of a fresh candidate for “fun record of the year”
Of the new album’s many highlights, “Leavin’ In the Morning” kicks things off in style with a bouncy, bluesy riff that recalls B. B. King’s “Never Make Your Move Too Soon;” and “You Bring Out the Jungle In Me,” is aided by a punchy horn section that provides the same kick on several other songs. Blues Music Award-winner Diunna Greenleaf trades lead vocals with Wayne on the soul-blues ballad, “Baby, It Ain’t You;” and another BMA winner, Eric Bibb, supplies lead vocals and an acoustic guitar solo on the rollicking “Two Sides.”
The jazzy-flavored “I Can’t Believe It” sounds like a song from an old Bill Withers session, and “Ogopogo Boogie” is a straight Crescent City classic groove from start to finish. The “Blues Boss” closes out the set in fine style, accompanied by just a drummer and pounding the 88s into submission on the instrumental, “Out Like a Bullet.”
The new album — and his live appearances all over North America and Europe — were best summed up by a music writer who explained Wayne this way: “When a piano player’s got the four most important things — the playing, the voice, the songs and the look — he becomes the whole package, “An artist you just have to see and hear.”
Kelowna-based pianist hits all the right keys as he covers boogie, funk and New Orleans-flavored rhythm and blues.
Kenny “Blues Boss” Wayne
Kenny Wayne sums it up in a single song, one of the highlights of Rollin’ With the Blues Boss, his second album for Stony Plain, the independent international roots music label:
They say what I’m doing has been done before
But that’s my reason to do it even more
I’m gonna keep on rockin’
I’m gonna keep on rollin’
Gonna keep on swingin’
Gonna keep on singing
Gonna keep on doing it ‘til my time is up
The new album was produced and recorded in Vancouver by Tom Lavin, leader of Canada’s legendary Powder Blues Band, and it features some of the city’s most creative backup players. It also features guest appearances on one track each from Stony Plain artist Eric Bibb and singer Diunna Greenleaf.
Kenny Wayne’s time certainly isn’t up yet; in fact, it seems like it’s only just starting. Resplendent in one of his many multi-hued French custom-tailored stage suits, he’s a throwback to the golden age of classic rhythm and blues.
Born in Spokane but raised in New Orleans, his powerful music recalls the era when piano players like Fats Domino and Amos Milburn and Bill Doggett worked the chitlin’ circuit on the “strolls” in dozens of American cities. As a one-man cheering section for the days when blues and small jazz bands met the roots of rock and roll, Wayne is unapologetic about the music he plays.
The back-story of a child prodigy who grew up fast
Wayne has been a traveling musician almost all his life, playing in show bands and cover bands in his youth, seeing the world from Texas to Hawaii and from Peoria to Paris.
Rediscovering his own blues roots long ago sent his career into overdrive, thanks to his fresh approach to old music, the drive and roaring good-time attitude of his live performances, and his smartly original self-penned songs.
Wayne was already a child prodigy when, at eight, he moved with his family to Los Angeles, and then to San Francisco. Encouraged by his preacher father, the Reverend Matthew Spruell, to play gospel music, the youngster was also secretly introduced to the radically more exciting boogie-woogie by an uncle.
By his early teen years, Wayne he was playing dozens of gigs in the early ’60s — including a 1961 appearance at the Alpha Bowling Club with the great Jimmy Reed. It was an infamous gig; everything Kenny’s father feared about the ”devil’s music.” A vicious brawl erupted in the crowded, smoky, alcohol-fueled club, and one man attacked another with a broken bottle, blood spraying everywhere. As Kenny recalls with a chuckle, “My dad grabbed my mom with one hand and ran up to the stage and yanked me off the piano bench and led us through the kitchen and out the back exit … That was pretty well the end of my blues career for over 20 years.”
Moving to Vancouver in the early ’80s — “it just seemed like home to me,” Wayne says now — he soon won a strong reputation on the B.C. and Prairies club scene. His full transformation into “Blues Boss” (his nickname came from the title of Amos Milburn’s Motown comeback album) came following a 1994 tour of Europe. Kenny’s longtime passion for boogie-woogie and blues paid off in the form of star treatment from piano-loving European music fans.
Three releases for the independent Canadian label Electro-Fi were all nominated for Juno Awards — Canada’s equivalent of the Grammies, and his 2006 release, “Let it Loose” was a Juno winner.
The applause continued for His Stony Plain debut, 2011’s An Old Rock on a Roll. That CD earned him a Blues Foundation nomination for the Pinetop Perkins Piano Award, and a 2012 Living Blues Awards for “best new contemporary blues recording of 2011” as well as one naming him “most outstanding keyboard musician.”
Highlights of a fresh candidate for “fun record of the year”
Of the new album’s many highlights, “Leavin’ In the Morning” kicks things off in style with a bouncy, bluesy riff that recalls B. B. King’s “Never Make Your Move Too Soon;” and “You Bring Out the Jungle In Me,” is aided by a punchy horn section that provides the same kick on several other songs. Blues Music Award-winner Diunna Greenleaf trades lead vocals with Wayne on the soul-blues ballad, “Baby, It Ain’t You;” and another BMA winner, Eric Bibb, supplies lead vocals and an acoustic guitar solo on the rollicking “Two Sides.”
The jazzy-flavored “I Can’t Believe It” sounds like a song from an old Bill Withers session, and “Ogopogo Boogie” is a straight Crescent City classic groove from start to finish. The “Blues Boss” closes out the set in fine style, accompanied by just a drummer and pounding the 88s into submission on the instrumental, “Out Like a Bullet.”
The new album — and his live appearances all over North America and Europe — were best summed up by a music writer who explained Wayne this way: “When a piano player’s got the four most important things — the playing, the voice, the songs and the look — he becomes the whole package, “An artist you just have to see and hear.”
PBS International Boogie Woogie
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