1927 Hosea Leavy*
1937 Willie Buck*
1938 Travis "Moonchild" Haddix*
1939 Tina Turner*
1941 Amos Garrett*
1945 John McVie*
1953 Big Clara McDaniel*
1958 Tiny Bradshaw+
1965 Bernard Allison*
1968 Chris Hicks*
1999 Fred "Sweet Daddy Goodlow" Ford+
2005 Jay Owens+
2006 H-Bomb Ferguson+
Happy Birthday
Bernard Allison Geb. 26.11.1965
Bernard Allison (* 26. November 1965 in Chicago, Illinois) ist ein US-amerikanischer Blues-Gitarrist, Sänger und Songschreiber.
Bernard, das jüngste von neun Kindern der Blues-Legende Luther Allison, spielte mit 13 Jahren zum ersten Mal bei einer Live-Aufnahme seines Vaters mit. Nach dem Schulabschluss spielte er in Koko Taylors Band Blues Machine und bei Willie Dixons Blues All-Stars. Mit seinem Vater trat er bei Blues Festivals auf. Zu seinen Lehrmeistern gehörten auch Johnny Winter und Stevie Ray Vaughan.
1989 zog Allison nach Paris, um dort zu leben und mit seinem Vater aufzutreten. Im gleichen Jahr hatten die beiden einen begeisternden Auftritt beim Chicago Blues Festival, zu hören auf dem Album Let's Try It Again von Luther Allison.
1990 erschien Bernard Allisons erstes Soloalbum. 1999, zwei Jahre nach dem Tod seines Vaters, ging Allison in die Vereinigten Staaten zurück, wo er mit seiner Familie heute in Minneapolis im US-Bundesstaat Minnesota lebt.
Die weißen Kobras an dem Hut, mit dem er lange aufgetreten ist, haben eine besondere Geschichte: Nachdem er es abgelehnt hatte, einen solchen Hut mit einer Kobra zu tragen, da dies nur seinem verstorbenem Vater zustehe, schenkten ihm seine Fans einen Hut mit zwei Kobraköpfen, die in Blickrichtung aufgerichtet befestigt waren. Sie legten ihm nahe, die zweite Kobra sei die seines Vaters, die ihn seit dessen Tod begleite. Dies akzeptierte er und trat danach auch mit dieser Kopfbedeckung auf, bis er sich 2007 dazu entschloss, sich von dem Hut zu trennen. "Ich dachte einfach, dass es mal Zeit für eine Veränderung wäre", sagte er dazu im selben Jahr in einem Interview mit dem deutschen Musikmagazin bluesnews. [1]
Im September 2012 spielte Allison mit dem Schlagzeuger, Gitarristen, Sänger und dreimaligen Blues-Music-Award-Gewinner Cedric Burnside in den Winterland Studios in seinem Wohnort Minneapolis ein gemeinsames Album ein, das im Januar 2013 unter dem Titel Allison Burnside Express auf den Markt kam.
Bernard Allison (born November 26, 1965, Chicago, Illinois) is a blues guitarist based out of Paris, France.[1]
Biography
Bernard Allison was born on November 26, 1965, in Chicago, Illinois.[1] His father, Luther Allison, was a Chicago blues musician. Allison moved back and forth between Illinois and Florida, but remained close to his father's music whether with him or not, listening to his father's albums when they were apart.[2] He accompanied his father to blues festivals in the early 1970s.[1] There he was introduced to Muddy Waters, Hound Dog Taylor and Albert King, amongst others.
Allison taught himself to play in Florida while his father was touring internationally and displayed his early skills to his father when he was 12.[3] His father brought him a Stratocaster guitar but required him to remain in school, although he did allow his son to join him on stage at the age of 18 at the 1983 Chicago Blues Festival. A week after his graduation from high school, he was invited to join Koko Taylor's touring band. During that time, he furthered his skills under the tutelage of Johnny Winter, whom he had met when younger, and Stevie Ray Vaughan whom he met in the first year of his career.
From 1985, he also tried out his headline act, Bernard Allison and Back Talk, largely active in Canada, although he remained with Koko Taylor.[1][4] He became the bandleader for his father's touring band in Europe late in 1989, and with his father's assistance and the loan of his father's musicians recorded his debut album, The Next Generation, in Paris around Christmas that year.[1][4] Over the next years, Allison and his father would continue to collaborate closely, with Bernard co-writing and arranging material on his father's final three albums and Luther offering ongoing advise to his son's band.[1]
Allison released three more albums in Europe, Hang On, No Mercy, and Funkifino. In 1997 — the year of his father's death — his critically acclaimed U.S. debut, Keepin' the Blues Alive.[1][5] was released. The album was followed by a U.S. tour and further releases. Allison's 2002 album Storms of Life charted at #5 on the Top Blues Albums charts.[1] In spite of the success of his tours and albums in the U.S., Allison remains based in Paris.
John McVie *26.11.1945
John McVie (* 26. November 1945 in Ealing, London) ist ein britischer Rockmusiker, der vor allem als Bassist der Band Fleetwood Mac bekannt wurde.Anfang der 1960er spielte McVie Bass bei den Bluesbreakers von John Mayall. 1967 gründete er mit Peter Green (Gitarre) und Mick Fleetwood (Schlagzeug), die beide ebenfalls bei den Bluesbreakers gespielt hatten, die Band Peter Green's Fleetwood Mac. Ihre Musik war stark Blues-orientiert.
Nach dem Ausscheiden Greens zog McVie Anfang der 1970er mit den verbleibenden Bandmitgliedern nach Los Angeles. Seine Ehe mit der Bandsängerin Christine Perfect wurde 1977 während der Aufnahmen zum Album Rumours geschieden. 1978 heiratete er Julie Ann Reubens, mit der er eine Tochter hat, Molly McVie.
1992 brachte er ein Soloalbum heraus, John McVie's Gotta Band. Mit der Fleetwood-Mac-Besetzung, die Rumours aufgenommen hatte, spielte er auf dem Ball zu Bill Clintons Amtseinführung.
Heute lebt John McVie auf Oahu, Hawaii. 1998 wurde er mit Fleetwood Mac in die Rock and Roll Hall of Fame aufgenommen.
Fleetwood Mac-Fans dürften aufgrund der Krebs-Diagnose des Band-Bassisten John McVie dieser Tage nicht ruhig schlafen können. Das wird sich auch bis nächste Woche nicht ändern – dann wird sich der Musiker einer OP unterziehen müssen.
Zumindest der derzeitige gesundheitliche Zustand von John McVie dürfte für kurzzeitiges und erleichterndes Durchschnaufen sorgen. "Es geht ihm gut. Er befindet sich gerade in der Chemotherapie. Davor gab er am 30. und 31. eine Show und morgen auch", gab Fleetwood Mac-Leaderin Stevie Nicks im Gespräch mit dem Us Magazine eine erste Entwarnung. Weiter versuchte die Sängerin Fans und Freunde nach der Diagnose zu beruhigen: "Ihm geht es gut. Er wird es überstehen."
Zumindest der derzeitige gesundheitliche Zustand von John McVie dürfte für kurzzeitiges und erleichterndes Durchschnaufen sorgen. "Es geht ihm gut. Er befindet sich gerade in der Chemotherapie. Davor gab er am 30. und 31. eine Show und morgen auch", gab Fleetwood Mac-Leaderin Stevie Nicks im Gespräch mit dem Us Magazine eine erste Entwarnung. Weiter versuchte die Sängerin Fans und Freunde nach der Diagnose zu beruhigen: "Ihm geht es gut. Er wird es überstehen."
John Graham McVie (born 26 November 1945) is a British bass guitarist best known as a member of rock groups John Mayall & the Bluesbreakers and Fleetwood Mac. His surname, combined with that of Mick Fleetwood, was the inspiration for the band's name. He joined Fleetwood Mac shortly after its formation by guitarist Peter Green in 1967, replacing temporary bassist Bob Brunning.
In 1968, he married blues pianist and singer Christine Perfect, who became a member of Fleetwood Mac two years later. John and Christine McVie divorced, however, in 1977. Around this time the band recorded the album Rumours, a major artistic and commercial success that borrowed its title from the turmoils in McVie's and other band members' marriages and relationships. He was inducted into the Rock and Roll Hall of Fame in 1998 for his work in Fleetwood Mac.
Early life
John Graham McVie was born in Ealing, west London, to Reg and Dorothy McVie and attended Walpole Grammar School. At age 14 he began playing the guitar in local bands, covering songs by The Shadows.[1] He soon realised that his friends were learning lead guitar so he decided to play the bass guitar instead. Initially he just removed the top two (E and B) strings from his guitar to play the bass parts until his father bought him a pink Fender bass guitar,[1] the same as that used by McVie's major early musical influence Jet Harris, The Shadows' bass player. John was in 3J class with Roger Warwick, a baritone sax player who had studied under Don Rendell and was to emerge in the London rock-jazz scene. Their teacher, Mr Howell (a pianist), although not really appreciating this "funny" music, was intelligent and open-minded enough to give pupils space and time to use school facilities to practise and listen to the new wave.[citation needed]
Soon after leaving school at 17, John trained for nine months to be a tax inspector and this also coincided with the start of his musical career.[2]
Early music
John's first experience making music with a group of like minds was in the back room of a house in Lammas Park Road, Ealing with his long term friends John & Peter Barnes who later went on to form a group called "The Strangers" with friends Tony Wells and Ken Pollendine performing Shadows covers. At this time, although only possessing a Framus acoustic with top 2 strings removed John showed a determination and ability that would take him to success as a professional musician.
John McVie's first job as a bass player was in a band called the "Krewsaders", formed by boys living in the same street as McVie in Ealing, West London. The "Krewsaders" played mainly at weddings and parties, covering songs from the The Shadows.[3]
John Mayall's Bluesbreakers
Around the time of McVie's tenure as a tax inspector, John Mayall began forming a Chicago-style Blues band, John Mayall's Bluesbreakers. Initially Mayall wanted to recruit bass player Cliff Barton of the Cyril Davies All Stars for the rhythm section of his new band. Barton declined, however, but gave him John McVie's phone number, urging Mayall to give the talented young bass player a chance in the Bluesbreakers.[3] Mayall contacted McVie, and asked him to audition for his band. Soon thereafter, McVie got offered to play bass in the Bluesbreakers. McVie accepted while still holding down his daytime job for a further nine months before becoming a musician full-time.[4] Under Mayall's tutelage, McVie, not having had any formal training in music, learned to play the blues mainly by listening to B. B. King and Willie Dixon records given to him by Mayall.[3]
Peter Green and Mick Fleetwood
In 1966, a young Peter Green was asked to join Mayall's Bluesbreakers as the band's new lead guitar player, after Eric Clapton, the third guitarist with the band (after Bernie Watson and then Roger Dean), had left. Some time later, after the recording of A Hard Road, drummer Aynsley Dunbar was replaced by Mick Fleetwood. Green, McVie, and Fleetwood quickly forged a strong personal relationship, and when John Mayall gave Green some free studio time for his birthday, Green asked McVie and Fleetwood to join him for a recording session. Produced by Mike Vernon, they recorded three tracks together, "Curly", "Rubber Duck", and an instrumental called "Fleetwood Mac".[5] Later the same year, after having been replaced by Mick Taylor in the Bluesbreakers, Peter Green opted to form his own band, which he called "Fleetwood Mac" after his preferred rhythm section (Fleetwood and McVie). Mick Fleetwood immediately joined Green's new band, having been dismissed earlier from the Bluesbreakers for drunkenness. However, McVie initially was reluctant to join Fleetwood Mac, not wanting to leave the security and well-paid job in the Bluesbreakers, forcing Green to temporarily hire a bassist named Bob Brunning. A few weeks later McVie changed his mind, however, as he felt that The Bluesbreakers musical direction were shifting too much towards jazz, and he joined Fleetwood Mac on bass in September 1967.[6]
Fleetwood Mac
With McVie now in Fleetwood Mac, the band recorded its first album, the eponymous Fleetwood Mac in the following months. The album was released in February 1968, and became an immediate national hit, establishing Fleetwood Mac as a major part in the English Blues movement.[1] Fleetwood Mac started playing live gigs in blues clubs and pubs throughout England, and became a household name in the national blues circuit. In the next three years, the band scored a string of hits in the UK and also enjoyed success in continental Europe.
Christine Perfect
While on tour, Fleetwood Mac would often share venues with fellow blues band Chicken Shack. It was on one such occasion that McVie met his future wife, the lead singer and piano player of Chicken Shack, Christine Perfect. Following a brief romance of only two weeks, McVie and Perfect got married with Peter Green as best man. With the couple being unable to spend much time together because of the constant touring with their bands, Christine (now McVie) quit Chicken Shack to become a housewife to spend more time with John.[7] However, following the departure of Peter Green from Fleetwood Mac in 1970, McVie successfully persuaded Christine to join him in Fleetwood Mac.
International success and personal life
In the years to follow, Fleetwood Mac went through several different line-ups, which occasionally became the source of friction and unease within the band. In addition, frequent touring as well as John McVie's heavy drinking began to put some strain on his marriage to Christine. In 1974, the McVies, along with the other members of Fleetwood Mac, moved to Los Angeles, where they lived briefly with John Mayall.[8] In 1975, Fleetwood Mac achieved enormous worldwide success after recruiting American singer-songwriter duo Stevie Nicks and Lindsey Buckingham. However, on the heels of the band's success followed serious marital problems for the McVies, and in 1976, during the recording of Rumours, John and Christine McVie's marriage unravelled and the couple divorced the same year. As a way to put behind the hurt and final dissolution, several of Christine's songs on this album were about John McVie, particularly "Don't Stop".[9] John McVie remarried in 1978 to Julie Ann Reubens, but still continued to drink heavily.
In 1981, McVie agreed to go on the road with the Bluesbreakers again for the so-called "Reunion Tour" with John Mayall, Mick Taylor and Colin Allen. During 1982 the band toured America, Asia and Australia. (John McVie did not take part in the European Tour in 1983 and was replaced by Steve Thompson).
An alcohol-induced seizure in 1987 finally prompted him to kick the habit, and he has been sober ever since. In 1989, McVie's wife Julie Ann gave birth to their first child, a daughter, Molly McVie. In his spare time, McVie is a sailing enthusiast, and he nearly got lost at least once on a Pacific voyage.[1] A naturally reclusive man, his involvement with Fleetwood Mac has been constant but notably low-key, despite the fact that the band takes the "Mac" part of its name from him. He received co-writer credits for a very small number of tracks throughout the band's existence, including "Station Man" and "The Chain".
On 27 October 2013, Fleetwood Mac announced on their Facebook Page that McVie had been diagnosed with cancer and would be undergoing treatment.[10] He has continued to play with the band during their 2014 On With The Show tour following an improvement in his condition.
In 1968, he married blues pianist and singer Christine Perfect, who became a member of Fleetwood Mac two years later. John and Christine McVie divorced, however, in 1977. Around this time the band recorded the album Rumours, a major artistic and commercial success that borrowed its title from the turmoils in McVie's and other band members' marriages and relationships. He was inducted into the Rock and Roll Hall of Fame in 1998 for his work in Fleetwood Mac.
Early life
John Graham McVie was born in Ealing, west London, to Reg and Dorothy McVie and attended Walpole Grammar School. At age 14 he began playing the guitar in local bands, covering songs by The Shadows.[1] He soon realised that his friends were learning lead guitar so he decided to play the bass guitar instead. Initially he just removed the top two (E and B) strings from his guitar to play the bass parts until his father bought him a pink Fender bass guitar,[1] the same as that used by McVie's major early musical influence Jet Harris, The Shadows' bass player. John was in 3J class with Roger Warwick, a baritone sax player who had studied under Don Rendell and was to emerge in the London rock-jazz scene. Their teacher, Mr Howell (a pianist), although not really appreciating this "funny" music, was intelligent and open-minded enough to give pupils space and time to use school facilities to practise and listen to the new wave.[citation needed]
Soon after leaving school at 17, John trained for nine months to be a tax inspector and this also coincided with the start of his musical career.[2]
Early music
John's first experience making music with a group of like minds was in the back room of a house in Lammas Park Road, Ealing with his long term friends John & Peter Barnes who later went on to form a group called "The Strangers" with friends Tony Wells and Ken Pollendine performing Shadows covers. At this time, although only possessing a Framus acoustic with top 2 strings removed John showed a determination and ability that would take him to success as a professional musician.
John McVie's first job as a bass player was in a band called the "Krewsaders", formed by boys living in the same street as McVie in Ealing, West London. The "Krewsaders" played mainly at weddings and parties, covering songs from the The Shadows.[3]
John Mayall's Bluesbreakers
Around the time of McVie's tenure as a tax inspector, John Mayall began forming a Chicago-style Blues band, John Mayall's Bluesbreakers. Initially Mayall wanted to recruit bass player Cliff Barton of the Cyril Davies All Stars for the rhythm section of his new band. Barton declined, however, but gave him John McVie's phone number, urging Mayall to give the talented young bass player a chance in the Bluesbreakers.[3] Mayall contacted McVie, and asked him to audition for his band. Soon thereafter, McVie got offered to play bass in the Bluesbreakers. McVie accepted while still holding down his daytime job for a further nine months before becoming a musician full-time.[4] Under Mayall's tutelage, McVie, not having had any formal training in music, learned to play the blues mainly by listening to B. B. King and Willie Dixon records given to him by Mayall.[3]
Peter Green and Mick Fleetwood
In 1966, a young Peter Green was asked to join Mayall's Bluesbreakers as the band's new lead guitar player, after Eric Clapton, the third guitarist with the band (after Bernie Watson and then Roger Dean), had left. Some time later, after the recording of A Hard Road, drummer Aynsley Dunbar was replaced by Mick Fleetwood. Green, McVie, and Fleetwood quickly forged a strong personal relationship, and when John Mayall gave Green some free studio time for his birthday, Green asked McVie and Fleetwood to join him for a recording session. Produced by Mike Vernon, they recorded three tracks together, "Curly", "Rubber Duck", and an instrumental called "Fleetwood Mac".[5] Later the same year, after having been replaced by Mick Taylor in the Bluesbreakers, Peter Green opted to form his own band, which he called "Fleetwood Mac" after his preferred rhythm section (Fleetwood and McVie). Mick Fleetwood immediately joined Green's new band, having been dismissed earlier from the Bluesbreakers for drunkenness. However, McVie initially was reluctant to join Fleetwood Mac, not wanting to leave the security and well-paid job in the Bluesbreakers, forcing Green to temporarily hire a bassist named Bob Brunning. A few weeks later McVie changed his mind, however, as he felt that The Bluesbreakers musical direction were shifting too much towards jazz, and he joined Fleetwood Mac on bass in September 1967.[6]
Fleetwood Mac
With McVie now in Fleetwood Mac, the band recorded its first album, the eponymous Fleetwood Mac in the following months. The album was released in February 1968, and became an immediate national hit, establishing Fleetwood Mac as a major part in the English Blues movement.[1] Fleetwood Mac started playing live gigs in blues clubs and pubs throughout England, and became a household name in the national blues circuit. In the next three years, the band scored a string of hits in the UK and also enjoyed success in continental Europe.
Christine Perfect
While on tour, Fleetwood Mac would often share venues with fellow blues band Chicken Shack. It was on one such occasion that McVie met his future wife, the lead singer and piano player of Chicken Shack, Christine Perfect. Following a brief romance of only two weeks, McVie and Perfect got married with Peter Green as best man. With the couple being unable to spend much time together because of the constant touring with their bands, Christine (now McVie) quit Chicken Shack to become a housewife to spend more time with John.[7] However, following the departure of Peter Green from Fleetwood Mac in 1970, McVie successfully persuaded Christine to join him in Fleetwood Mac.
International success and personal life
In the years to follow, Fleetwood Mac went through several different line-ups, which occasionally became the source of friction and unease within the band. In addition, frequent touring as well as John McVie's heavy drinking began to put some strain on his marriage to Christine. In 1974, the McVies, along with the other members of Fleetwood Mac, moved to Los Angeles, where they lived briefly with John Mayall.[8] In 1975, Fleetwood Mac achieved enormous worldwide success after recruiting American singer-songwriter duo Stevie Nicks and Lindsey Buckingham. However, on the heels of the band's success followed serious marital problems for the McVies, and in 1976, during the recording of Rumours, John and Christine McVie's marriage unravelled and the couple divorced the same year. As a way to put behind the hurt and final dissolution, several of Christine's songs on this album were about John McVie, particularly "Don't Stop".[9] John McVie remarried in 1978 to Julie Ann Reubens, but still continued to drink heavily.
In 1981, McVie agreed to go on the road with the Bluesbreakers again for the so-called "Reunion Tour" with John Mayall, Mick Taylor and Colin Allen. During 1982 the band toured America, Asia and Australia. (John McVie did not take part in the European Tour in 1983 and was replaced by Steve Thompson).
An alcohol-induced seizure in 1987 finally prompted him to kick the habit, and he has been sober ever since. In 1989, McVie's wife Julie Ann gave birth to their first child, a daughter, Molly McVie. In his spare time, McVie is a sailing enthusiast, and he nearly got lost at least once on a Pacific voyage.[1] A naturally reclusive man, his involvement with Fleetwood Mac has been constant but notably low-key, despite the fact that the band takes the "Mac" part of its name from him. He received co-writer credits for a very small number of tracks throughout the band's existence, including "Station Man" and "The Chain".
On 27 October 2013, Fleetwood Mac announced on their Facebook Page that McVie had been diagnosed with cancer and would be undergoing treatment.[10] He has continued to play with the band during their 2014 On With The Show tour following an improvement in his condition.
John Mayall, Peter Green, John McVie & Mick Fleetwood - Stormy Monday Blues
Amos Garrett *26.11.1941
Amos Garrett (born November 26, 1941, Detroit, Michigan, USA) is an American-Canadian musician, performer, and author. He holds dual citizenship and was raised in Toronto and Montreal.[1] He is best known for his guitar solo on Maria Muldaur's recording "Midnight at the Oasis".
Over the course of his career, Garrett has recorded with more than 150 artists, ranging from Stevie Wonder, Todd Rundgren and Pearls Before Swine to Emmylou Harris, Bonnie Raitt and Martin Mull.[1][2] He can be heard on Anne Murray's chart-topping rendition of "Snowbird".[1] Guitarist Jimmy Page of Led Zeppelin stated Amos Garrett as one of his favorite American guitar players in a 1975 Rolling Stone interview.
Early years
Garrett was born in Detroit, Michigan, USA on November 26, 1941. When he was five, he was moved to Toronto, Ontario, Canada. He studied piano and trombone through the Royal Conservatory of Music of Toronto.[4][5]
At twelve, Garrett relocated to Montreal, Quebec, Canada, where he began playing guitar at fourteen.[4][5] There, at the Esquire Club, he would learn while watching performers such as Ben E. King, T-Bone Walker, Fats Domino and B. B. King.[1][6] After an attempt to study English literature at a university in the USA, he chose a career in music and moved back to Toronto in 1962.[4][7]
Guitar for hire
Garrett's first professional gig was accompanying Mike Settle at Carnegie Hall in the winter of 1963. Settle was the opening act for comedian Vaughn Meader.[8]
From 1964 to 1967, Garrett played in the Toronto jug/string band, The Dirty Shames, which included Chick Roberts, Jim McCarthy and Carol Robinson.[4][9] It was during this period that Garrett and Roberts took John Hammond, Jr. to see Levon & The Hawks for the first time.[10] The Hawks would later be recommended by Hammond to Bob Dylan.[11]
In 1968, Garrett began a two-year stint of touring and recording with Canadian duo Ian & Sylvia, which led to becoming a founding member of Great Speckled Bird.[4] This band is featured in the film Festival Express. They are shown playing the song "C.C. Rider" with members of the Grateful Dead and Delaney Bramlett in 1970. As a special feature on the DVD release of the film, Great Speckled Bird are shown playing the Dylan/Manuel song, "Tears of Rage".
Garrett moved to Woodstock, New York in 1970 to play in Maria and Geoff Muldaur's band.[12] Based there, he performed and recorded with artists that were part of Albert Grossman's Bearsville stable, such as Bobby Charles, Todd Rundgren and Jesse Winchester, and as a member of Paul Butterfield's group, Better Days.[6] Garrett was also a member of Hungry Chuck, another Bearsville act, which was formed of ex-Great Speckled Bird members. They released an eponymous album in 1972.[13] Garrett also played trombone on two songs for Jerry Garcia's second solo album, Compliments, released in 1974.
After living in Boston for two years, Garrett moved to San Francisco in 1976 to pursue session work.[4][6] There, he continued as member and bandleader of Maria Muldaur's group until 1978, toured the R&B circuits of North America, and recorded with more than 150 artists.[4][6]
Frontman
“I wanted to sing. I loved to sing, but there was no way I could do so being a hired gun for bands.” - Amos Garrett[5]
In 1978, Garrett decided to pursue fronting his own project, left Muldaur's group, and began releasing material through Stony Plain Records, a label based in Edmonton, Alberta, Canada.[5] His first solo album was 1980's Go Cat Go, which was followed by Amosbehavin in 1982. He formed his back-up band, The 'Eh Team, around this time.[1]
Garrett shared performing and recording duties, and co-wrote two songs, on 1988's The Return of the Formerly Brothers with the late Doug Sahm and pianist Gene Taylor. Queen Ida sat in on accordion. The album was awarded the inaugural, 1989, Juno Award for Best Roots & Traditional Album.[4] A follow-up live album, Live In Japan, was recorded in 1990 as Garrett, Sahm and Tayor played clubs and concert halls in Tokyo, Osaka and Kyoto.
In 1989, Garrett relocated to Turner Valley, Alberta.[5] That year also brought the album I Make My Home in My Shoes, which paid tribute to his boyhood days, especially on "Stanley Street", a song written in recollection of the Esquire Club.[6] Garrett began his intermittent role as bandleader and/or member of the Edmonton Folk Music Festival's Festival House Band in 1990, reprising it from 1994–2000, from 2002–2006, and from 2008–2012.[14][15] With Garrett, the band has backed such acts as Richard Thompson, Solomon Burke, Ruth Brown, Rick Danko, Jay McShann, Johnnie Johnson and Rosco Gordon.[16] Third Man In, released in 1992, was a collection of covers and originals. Garrett's covers were written by the likes of Bobby Charles and Percy Mayfield. Off The Floor Live followed in 1996. It was recorded live with the 'Eh Team at the Sidetrack Club in Edmonton.
The Cold Club was a collaboration with Oscar Lopez, David Wilkie, Karl Roth and Ron Casat. They released an eponymous record in 1996. Maria Muldaur, Mike Lent and Teddy Borowiecki guested on the album.[17] Garrett released Amos Garrett's Acoustic Album in 2004. It features tracks written by Lead Belly and Hoagy Carmichael, among others. It was nominated for a 2005 Juno Award. This was followed by 2008's release, Get Way Back: A Tribute to Percy Mayfield, which was also nominated for a Juno Award.[18] Garrett was living in High River, Alberta in 2008.[1]
On November 6, 2011, Garrett conducted a clinic and then performed as part of the Sleepwalk Guitar Festival in Toronto.[19] The festival was presented by Six Shooter Records and curated by Luke Doucet.[20]
Other endeavours
Garrett has authored a number of instructional albums, books and videos.[21][22]
Garrett enjoys fishing, and hopes to one day catch an Atlantic Salmon of twenty pounds or greater.
Travis "Moonchild" Haddix *26.11.1938
Wie die allermeisten schwarzen amerikanischen Bluesmusiker hat auch Travis "moonchild" Haddix im ländlichen Bundesland Mississippi das Licht der Welt erblickt und siedelte später mit seiner Familie in die nördlichen Industriegebiete an den Grossen Seen über. Was ihn jedoch von den meisten seiner Blueskollegen unterscheidet ist abgesehen vom Umstand, dass er keinen Tropfen Alkohol trinkt die Tatsache, dass er nicht auf sattsam bekannte Bluesstandards zurückgreifen muss Travis Haddix ist nicht nur ein aussergewöhnlich guter Sänger und Gitarrist, sondern auch ein ebenso phantasievoller Songwriter und begnadeter Textdichter, der in den letzten Jahren immer wieder als Autor von Blues-Hits, auch für andere bekannte Bluessänger, Erfolg hatte. In den USA sind von Travis Haddix bisher sieben CDs in seinem unverwechselbaren Stil erschienen, einer Mischung aus Soul der Stax-Vault-Tage und dem aktuellen Blues der amerikanischen Grossstädte. Mit "Winner never quit" legt Elite Special nun sein bestes und gefühlstiefstes US-Album erstmals in Europa auf.
Travis Haddix began playing the piano at the age of seven in his home town of Walnut, Mississippi, located thirty miles south of Memphis, Tennessee. The turning point in his musical learning experience came when he was eight, when the legendary B.B. King came to Memphis and began playing daily at the studios of WDIA. Travis was awed by King;s guitar virtuosity and he hung around the radio station every day to learn all he could. Soon, Travis' piano playing fell by the wayside and was replaced by the guitar, which he plays on stage and in the studio.Years later, the Haddix family moved to Milwaukee, Wisconsin where Travis, now a budding star, continued to refine his craft by singing and playing throughout the North. The original "Moonchild", he earned the nickname from his beaming presence on stage and his always broad smile and energetic, sexy performances, In 1959, Travis moved to Cleveland, Ohio where he joined the D.L. Rocco Band and achieved regional notoriety that led to a prominent spot with the Little Johnnie Taylor group. Travis also contributed material to five albums by Artie "Bluesboy" White. His material is also covered by Artie “blues boy” White, Dickie Williams, Jimmy Dawkins, Michael Burks, Charles Wilson, the late Son Seals, and Lee Shot Williams.
Travis Haddix began playing the piano at the age of seven in his home town of Walnut, Mississippi, located thirty miles south of Memphis, Tennessee. The turning point in his musical learning experience came when he was eight, when the legendary B.B. King came to Memphis and began playing daily at the studios of WDIA. Travis was awed by King;s guitar virtuosity and he hung around the radio station every day to learn all he could. Soon, Travis' piano playing fell by the wayside and was replaced by the guitar, which he plays on stage and in the studio.Years later, the Haddix family moved to Milwaukee, Wisconsin where Travis, now a budding star, continued to refine his craft by singing and playing throughout the North. The original "Moonchild", he earned the nickname from his beaming presence on stage and his always broad smile and energetic, sexy performances, In 1959, Travis moved to Cleveland, Ohio where he joined the D.L. Rocco Band and achieved regional notoriety that led to a prominent spot with the Little Johnnie Taylor group. Travis also contributed material to five albums by Artie "Bluesboy" White. His material is also covered by Artie “blues boy” White, Dickie Williams, Jimmy Dawkins, Michael Burks, Charles Wilson, the late Son Seals, and Lee Shot Williams.
Haddix has received rave reviews in Living Blues Magazine, Blues Revue, Real Blues, Big City, Jefferson and Audience Magazine, and he has toured Europe since 1992. His style evokes the sounds of the great Stax-Volt days, when the likes of Sam & Dave ruled the urban blues roost. His fifth release on Ichiban Records is A Big Ole Goodun', featuring the Travis Haddix band (together since 1988). He proves, once again, that he is a fixture in the modern blues industry with songs like. "Make Me Say Please" , "From Bad to Worse", and the made-for-jukebox single, "(She Called Me) Knucklehead".
Travis received 4 awards in 1999. Best Male Blues Artist, Best New Blues Artist, Best Blues Entertainer and Contemporary Blues Artist Of The Year. In 1989 he founded Haddix publishing Company and Wann-Sonn Records, and recorded ten CDs under his own label. in 2007 travis won the Gay Rose Production Keeping the Blues Alive Award.
Next time you have a chance, check out the movie April's Fool which features Travis' hit song, Everything Is Everything.
In 2007, Travis' single, "Dick for Dinner" from "Mean Ole Yesterday" was nominated Best Blues Song by the Blues Critic Awards 2007 Readers Poll-Comtemporary Blues. Travis was in great company; the prize was awarded to Omar Kent Dykes & Jimmie Vaughan.
Travis received 4 awards in 1999. Best Male Blues Artist, Best New Blues Artist, Best Blues Entertainer and Contemporary Blues Artist Of The Year. In 1989 he founded Haddix publishing Company and Wann-Sonn Records, and recorded ten CDs under his own label. in 2007 travis won the Gay Rose Production Keeping the Blues Alive Award.
Next time you have a chance, check out the movie April's Fool which features Travis' hit song, Everything Is Everything.
In 2007, Travis' single, "Dick for Dinner" from "Mean Ole Yesterday" was nominated Best Blues Song by the Blues Critic Awards 2007 Readers Poll-Comtemporary Blues. Travis was in great company; the prize was awarded to Omar Kent Dykes & Jimmie Vaughan.
Travis Haddix I've got a secret Cognac blues passions 2010
Big Clara McDaniel *26.11.1953
Blues singer Big Clara McDaniel was raised in a musical family. During her youth, she sang at church and also took up the piano to accompany the choir. All the while, she soaked up the sound of the blues from her siblings, father, and grandfather, who frequently played blues recordings around the house. She also had a professional in the family, Dusty Brown, an uncle who was a Parrot recording artist. When the family relocated from her birthplace of Pontiac, MI, to St. Louis, McDaniel had the opportunity to meet Muddy Waters. She discovered more blues influences at nightspots like Ned Love's, Club Caravan, Cass, and Dynaflow at Glasgow. At Club Caravan she sang with Big Bad Smitty and Big George, and at Ned Love's she teamed with Albert King. McDaniel and King launched a long-term professional association, and the pair embarked on a tour of Mississippi and Arkansas, and they also swung West to Arizona. Upon returning home to St. Louis, she managed his taxi company. She has also performed with Tommy Bankhead, Bobby Bland, Ike Turner, Little Milton, Oliver Sain, and David Dee, among others.
High Tone Records released Unwanted Child, McDaniel's first album, in 1997. Albert "Falstaff" Foster, McDaniel's husband and keyboardist and leader of her band, passed away before she made the recording and the singer dedicated her debut to him. Following Foster's death, McDaniel relocated to Arkansas, where she welcomed a set of twins into the world. She has also been foster mother to dozens of kids, several of whom she adopted. For two decades before her debut, McDaniel usually juggled two jobs, and sometimes a third, and sang on the weekends. More than once she has opened the St. Louis Blues Festival with her group, the Magnatones. She also appeared at the Holland festival called Blues Estafette in 1995. Blues & Rhythm, a British magazine, dubbed her Discovery of the Year. She has toured Greece, France, England, and Switzerland. In 1998, McDaniel was nominated as Living Blues magazine's Female Blues Artist of the Year.
High Tone Records released Unwanted Child, McDaniel's first album, in 1997. Albert "Falstaff" Foster, McDaniel's husband and keyboardist and leader of her band, passed away before she made the recording and the singer dedicated her debut to him. Following Foster's death, McDaniel relocated to Arkansas, where she welcomed a set of twins into the world. She has also been foster mother to dozens of kids, several of whom she adopted. For two decades before her debut, McDaniel usually juggled two jobs, and sometimes a third, and sang on the weekends. More than once she has opened the St. Louis Blues Festival with her group, the Magnatones. She also appeared at the Holland festival called Blues Estafette in 1995. Blues & Rhythm, a British magazine, dubbed her Discovery of the Year. She has toured Greece, France, England, and Switzerland. In 1998, McDaniel was nominated as Living Blues magazine's Female Blues Artist of the Year.
Clara Mcdaniel - Thread Your Needle ( Unwanted Child 1997 )
Hosea Leavy *26.11.1927
It’s the end of an era for the Fresno Blues scene. Hosea Leavy the self-proclaimed “Grand Daddy of the Blues” died on August 12,2008 at the U.S. Veterans Hospital in Fresno,CA after a short bout with cancer. He was 80 years old.
Hosea was born in Altheimer, Arkansas on November 26,1927. One of 15 children,Hosea learned the guitar from his father and older brother. In the mid 1940′s he started playing in a combo that would play in and around Little Rock with instruments rented from a local pawnbroker.
In 1950 Hosea was drafted into the Army and saw some combat action in Korea. It was in the army’s USO clubs that Hosea picked up his bass skills which served him well throughout his musical career. After being discharged from the service in 1954 Hosea and his younger brother Calvin formed group that eventually made history.
“We played so much together we knew what to do and how to do it.I could feel Calvin,he could feel me,when you feels the guys you are playing with you know what they are gonna do.You hits that groove and playing the Blues is like taking candy from a baby.”
The rapport between the Leavy brothers was enough to make a massive hit record out of ‘Cummins Prison Farm’ on the Soul Beat label. The song detailed the sub-human conditions at Cummins. The prisons human rights expose was later made into a film titled ‘Brubaker’ starring Robert Redford.
The song hit at #40 on the Billboard R&B charts in 1970 and stayed there for 5 weeks after Shelby Singleton’s Blue Fox label picked it up. The song has had a firm position in the canon of the modern Blues repertoire ever since,and is a favorite of Southern Blues audiences.
Hosea wrote and recorded one single in 1969 for Soul Beat titled ‘It’s Too Early in the Morning b/w You Cant Lose What You Never Had’ the Muddy Waters original.In 1969 he also made a single for Riceland that was produced by Willie Cobbs titled ‘Oo-Wee Baby b/w When I was a Little Boy’.
The brothers rode the ‘Cummins’ wave for a few years and made countless appearances throughout the south and elsewhere.
“There was only three of us but we could really blow and we made some pretty good money.”
Eventually the Leavy brothers broke up and started their own bands. Hosea moved to California and started a combo with Johnny ‘Da-Doo’ Wilson on bass and Warren Milton on drums. This trio play a small joint in West Fresno called ‘Wagners’ every weekend for at least 5 years. The band would start around 10 in the evening and go until 5 in the morning or until the cops showed up.
“There would be 60 people standing and I kept it full because they said I got a style of playing guitar that makes people pat their feet and when they are patting their feet I feels good and I can really soul that guitar down”.
In 1993 Hosea recorded a cassette titled ‘Greasy Greens’ for the debut of Fedora Records. The tape was noticed by ‘Blues and Rhythm’ who in turn published an article by Mike Rainsford which got Hosea some good festival work in Europe and elsewhere. Hosea recorded a CD for Fedora ‘You Gotta Move’ in 1997 and co-starred with Harmonica Slim AKA Riley(or Richard) Riggins titled ‘Cold Tacos and Warm Beer.’
Hosea loved to hunt and fish when he wasn’t gigging or hanging out at ‘The Barrel’ in West Fresno. Hosea was father to 26 children, 4 of whom are named Hosea Leavy,Jr. Hosea was a fine performer and a strict band leader. He was respected by the local musicians and he mentored many of the area’s best Blues musicians.
His last major gig was the 2007 San Francisco Blues Festival. Hosea was still performing at a very high level only weeks before he drove his old Chrysler to the V.A. and checked himself in. In his last days at the hospice Hosea was very lucid and enjoyed visits with his friends and family.
“I love music … You can pay if you want to, if you dont I don’t care, I’ll just enjoy myself. I’m gonna play to the day I die”.
Hosea Leavy - Searchin'
Chris Hicks *26.11.1968
A bluesy Southern rock guitarist with soulful vocals to match, Georgia native Chris Hicks honed his skills playing lead guitar for Gregg Allman, Lynyrd Skynyrd and the Marshall Tucker Band, among others. Inspired by Otis Redding and James Brown, Hicks grew up in the Macon area and later joined the Experience. After playing the blues festival circuit for several years, the band opened up for Steppenwolf and Charlie Daniels during the 1980s, and Hicks was asked to join the Outlaws later that decade. After the Outlaws disbanded in 1996, Hicks joined the evolving lineup of the Marshall Tucker Band, serving as the group's lead guitarist while simultaneously launching a solo career with 1998's Funky Broadway. Hicks stayed with the Marshall Tucker Band throughout the following decade, and 2008 saw the release of his second solo effort, Dog Eat World.
King Of The Delta Blues
R.I.P.
Tiny Bradshaw Todestag 26.11.1958
Myron „Tiny“ Bradshaw (* 23. September 1905 in Youngstown, Ohio; † 26. November 1958 in Cincinnati) war ein US-amerikanischer Bandleader, Sänger, Arrangeur und Produzent (sowie Schlagzeuger und Pianist) des Jazz und Rhythm and Blues.
Bradshaw studierte zunächst Psychologie an der Wilberforce University und sang dann mit Horace Hendersons „Collegians“ bei College-Auftritten in Ohio. 1932 zog er nach New York City, wo er Schlagzeuger bei den „Alabamians“ von Marion Hardy, den „Charleston Bearcats“ (später „Savoy Bearcats“) und der „Mills Blue Rhythm Band“ war und 1932 für Luis Russell sang. 1934 gründete er sein eigenes Swing-Orchester, das er nach dem Vorbild von Cab Calloway. Hits waren u. a. „Darktown Strutters Ball“ und „Shout Sister Shout“.
Bekannt wurde er vor allem mit seiner Rhythm-and Blues Band ab 1945, als Fortsetzung einer Band, die er im Zweiten Weltkrieg bei der US-Armee leitete. Hits waren z. B. „Well Oh Well“ (1950, King), mit denen sie auch beim weißen Publikum großen Erfolg hatten, „Breaking up the house“ (1950), „Train-Kept-a-Rollin“ von 1952 (das mit Johnny Burnette 1955 und den Yardbirds 1965 bekannt wurde) und „Soft“ (1952). Sänger der Band war ab 1952 u. a. Tiny Kennedy. 1954 tourte er mit Dinah Washington. In seinen letzten Lebensjahren hatte er zunehmend Gesundheitsprobleme, er erlitt mehrere Schlaganfälle. In seiner Band spielten zeitweise Jimmy Coe, Gigi Gryce, Sonny Stitt, Russell Procope, Red Prysock, Shadow Wilson, Charlie Shavers, Billy Kyle, Shad Collins, Gil Fuller, Charlie Fowlkes, Sil Austin und Billy Ford.
Myron Carlton Bradshaw (September 23, 1907 – November 26, 1958),[4] known as Tiny Bradshaw, was an American jazz and rhythm and blues bandleader, singer, composer, pianist, and drummer.[5] His biggest hit was "Well Oh Well" in 1950, and the following year he recorded "The Train Kept A-Rollin'", important to the later development of rock and roll; he co-wrote and sang on both records.
He was born in Youngstown, Ohio, the son of Cicero P. Bradshaw and his wife Lillian Boggess. Bradshaw graduated from high school in Youngstown.[6] After graduating from Wilberforce University with a degree in psychology, Bradshaw turned to music for a living.[7] In Ohio, he sang and played drums with Horace Henderson's campus oriented Collegians.[7][8] Then, in 1932, Bradshaw relocated to New York City, where he drummed for Marion Hardy's Alabamians, the Charleston Bearcats (later the Savoy Bearcats), and the Mills Blue Rhythm Band, and sang for Luis Russell.[5]
Bandleader
In 1934, Bradshaw formed his own swing orchestra, which recorded eight sides in two separate sessions for Decca Records that year in New York City.[6] The band's next recording date was in 1944 for Manor Records,[6] at which point its music was closer to rhythm and blues. He recorded in 1947 for Savoy Records.[6]
The band recorded extensively for the rhythm and blues market with King Records between late 1949 and early 1955,[5][6] and had five hits on the Billboard R&B chart. His most successful record at the time was "Well Oh Well", which reached no.2 on the R&B chart in 1950 and stayed on the chart for 21 weeks. Two follow-ups, "I'm Going To Have Myself A Ball" (no.5, 1950) and "Walkin' The Chalk Line" (no.10, 1951) also made the chart before a break of almost two years.[9]
What is now Bradshaw's best known recording was "The Train Kept A-Rollin'" (1951) — not a chart hit at the time — which passed from rhythm and blues history into rock's legacy.[5] The song was recorded by Johnny Burnette & The Rock 'N' Roll Trio in 1956 and by The Yardbirds with Jeff Beck in 1965. It was covered again by Aerosmith in 1974 and by Motörhead in 1978.
Bradshaw returned to the R&B chart in 1953 with "Soft" (no.3), an instrumental later recorded by Bill Doggett, and "Heavy Juice" (no.9). Both of these 1953 hits featured Red Prysock on tenor saxophone.[9]
Bradshaw's later career was hampered by severe health problems, including two strokes, the first in 1954, that left him partially paralyzed. He made a return to touring in 1958.[8] His last session that year resulted in two recordings, "Short Shorts" and "Bushes" (King 5114),[6] which proved an unsuccessful attempt to reach out to the emerging teenage record market.
Weakened by the successive strokes as well as the rigors of his profession, Bradshaw died in his adopted hometown of Cincinnati from another stroke in 1958.[4] He was either 53 or (more likely) 51 years old.[5]
Legacy
Bradshaw is remembered for a string of rhythm and blues hits. As a bandleader, he was an invaluable mentor to important musicians and arrangers including Sil Austin, Happy Caldwell, Shad Collins, Wild Bill Davis, Talib Dawud, Gil Fuller, Gigi Gryce, George "Big Nick" Nicholas, Russell Procope, Red Prysock, Curly Russell, Calvin "Eagle Eye" Shields, Sonny Stitt, Noble "Thin Man" Watts, and Shadow Wilson.
TINY BRADSHAW ~ BRADSHAW BOOGIE ~ 1951
Robert „H-Bomb“ Ferguson (* 1929 in Charleston, South Carolina; † 26. November 2006 in Cincinnati, Ohio) war ein US-amerikanischer Blues-Sänger und -Pianist. Bekannt war er für sein extravagantes Auftreten mit bunter Perücke. Sein Vorbild war „Mister Blues“ Wynonie Harris.
Mit 19 tingelte Ferguson, dessen Vater ihm Klavierunterricht finanziert hatte, mit Joe Liggins und seinen Honeydrippers. In New York trat er als „the Cobra Kid“ auf und hatte Anfang der 1950er seine ersten Plattenhits.
Schließlich verschlug es Ferguson nach Cincinnati, wo er von nun an lebte und musizierte. Erst 1986 erschien Fergusons erstes Album Life Is Hard. Bis zu seinem Tod 2006 trat er bei angesagten Blues und R&B-Festivals auf.
Mit 19 tingelte Ferguson, dessen Vater ihm Klavierunterricht finanziert hatte, mit Joe Liggins und seinen Honeydrippers. In New York trat er als „the Cobra Kid“ auf und hatte Anfang der 1950er seine ersten Plattenhits.
Schließlich verschlug es Ferguson nach Cincinnati, wo er von nun an lebte und musizierte. Erst 1986 erschien Fergusons erstes Album Life Is Hard. Bis zu seinem Tod 2006 trat er bei angesagten Blues und R&B-Festivals auf.
Fred "Sweet Daddy Goodlow" Ford +26.11.1999
Fred
"Sweet Daddy Goodlow" Ford (February 14, 1930 – November 26, 1999) was
an American blues and jazz artist, composer, arranger and educator. Ford
was born in Memphis, Tennessee, to Boss Fred Ford and Nancy Taylor
Ford.
Known mostly for his baritone saxophone skills, Ford began his musical career in 1943 on clarinet at Frederick Douglass High School, as a part of the Douglass Swingsters Orchestra and the Andrew Chaplin Band, with influence by the Memphis born bandleader, Jimmie Lunceford.
Career
Ford’s first professional gig was at 'The Barn' in the Hyde Park section of Memphis. He continued honing his musical skills around Memphis at the 'Hotel Men's Improvement Club' (later called the Flamingo Room at Gayoso and Beale), The Elks Club, Mitchell's Domino Lounge (later known as Club Handy) and Club Paradise. Ford began traveling on the road and playing saxophone gigs with Johnny Hodges, Earl Bostic, Paul Desmond, Pete Brown, and Benny Carter.
As a leader in the Johnny Otis Band, Ford performed at such venues as the Apollo Theater in Harlem, The Earl Theater in Philadelphia, the Howard Theater in Washington, D.C., the 5-4 Ballroom in Los Angeles and Club Rivera in St. Louis. From the 1950s to 1976 he worked through the booking agency of Don D. Robey of Peacock Records, based in Houston, Texas. It was there that Ford recorded with Clarence "Gatemouth" Brown, Marie Anderson, and Big Mama Thornton where on her original recording of "Hound Dog" - later famous by Elvis Presley - Ford was heard as the barking/howling dog.[1] Ford continued to tour and record with B. B. King, Esther Phillips, Lightnin' Hopkins and Junior Parker. He also recorded with Jerry Lee Lewis and Charlie Rich at Sam Phillips' Sun Studio and at the Stax Music Studios with Rufus Thomas on "Do the Funky Chicken."[2]
Producer
As a record producer, Ford was behind the jazz pianist Phineas Newborn, Jr.’s 1974 album, Solo Piano, which won a Grammy nomination. In 1979, they went to the Montreaux Jazz Festival and other European venues, accompanied by the writer Stanley Booth. In 1978 at Sam Phillips' studio, Ford produced Vanilla, the homecoming album of actress Cybill Shepherd, featuring the Beale Street USA Orchestra and Newborn Jr.
Trio
In the 1980s, Ford’s stature as a jazz musician became more recognized as he formed a jazz trio with the organist/vocalist Robert "Honeymoon" Garner and drummer Bill Tyus. As the Fred Ford-Honeymoon Garner Trio,[3] they became a favorite of the annual Memphis Music and Heritage Festival, sponsored by the Center for Southern Folklore. As a jazz musician, Ford worked with Charlie Rich on Rich's last single, "Pictures and Paintings." Ford was also featured in a 1984 Charlie Rich YouTube video for "Lonely Weekends".
POBAM
Ford and his friend and musician/educator, Emerson Able, formed POBAM, (Preservation of Black American Music) with the aim of keeping jazz and the legacy of black jazz musicians alive. In 1982, POBAM became a charter member of the Memphis Black Arts Alliance, Inc., which was organized to nurture artistic excellence and celebrate black heritage.
After diagnosed with lung cancer, Ford became a staunch no smoking advocate encouraging smokers to quit and youngsters not to start.
Family
Ford was the father to twins Jamal and Jamil Ford, who carry on his musical legacy as record producers through their labels and websites, POBAM and WOOKIN. Jacob Ford, the youngest child of Fred Ford, was drafted by the Tennessee Titans in 2007.[4]
Fred Ford died of lung cancer, in November 1999.
Known mostly for his baritone saxophone skills, Ford began his musical career in 1943 on clarinet at Frederick Douglass High School, as a part of the Douglass Swingsters Orchestra and the Andrew Chaplin Band, with influence by the Memphis born bandleader, Jimmie Lunceford.
Career
Ford’s first professional gig was at 'The Barn' in the Hyde Park section of Memphis. He continued honing his musical skills around Memphis at the 'Hotel Men's Improvement Club' (later called the Flamingo Room at Gayoso and Beale), The Elks Club, Mitchell's Domino Lounge (later known as Club Handy) and Club Paradise. Ford began traveling on the road and playing saxophone gigs with Johnny Hodges, Earl Bostic, Paul Desmond, Pete Brown, and Benny Carter.
As a leader in the Johnny Otis Band, Ford performed at such venues as the Apollo Theater in Harlem, The Earl Theater in Philadelphia, the Howard Theater in Washington, D.C., the 5-4 Ballroom in Los Angeles and Club Rivera in St. Louis. From the 1950s to 1976 he worked through the booking agency of Don D. Robey of Peacock Records, based in Houston, Texas. It was there that Ford recorded with Clarence "Gatemouth" Brown, Marie Anderson, and Big Mama Thornton where on her original recording of "Hound Dog" - later famous by Elvis Presley - Ford was heard as the barking/howling dog.[1] Ford continued to tour and record with B. B. King, Esther Phillips, Lightnin' Hopkins and Junior Parker. He also recorded with Jerry Lee Lewis and Charlie Rich at Sam Phillips' Sun Studio and at the Stax Music Studios with Rufus Thomas on "Do the Funky Chicken."[2]
Producer
As a record producer, Ford was behind the jazz pianist Phineas Newborn, Jr.’s 1974 album, Solo Piano, which won a Grammy nomination. In 1979, they went to the Montreaux Jazz Festival and other European venues, accompanied by the writer Stanley Booth. In 1978 at Sam Phillips' studio, Ford produced Vanilla, the homecoming album of actress Cybill Shepherd, featuring the Beale Street USA Orchestra and Newborn Jr.
Trio
In the 1980s, Ford’s stature as a jazz musician became more recognized as he formed a jazz trio with the organist/vocalist Robert "Honeymoon" Garner and drummer Bill Tyus. As the Fred Ford-Honeymoon Garner Trio,[3] they became a favorite of the annual Memphis Music and Heritage Festival, sponsored by the Center for Southern Folklore. As a jazz musician, Ford worked with Charlie Rich on Rich's last single, "Pictures and Paintings." Ford was also featured in a 1984 Charlie Rich YouTube video for "Lonely Weekends".
POBAM
Ford and his friend and musician/educator, Emerson Able, formed POBAM, (Preservation of Black American Music) with the aim of keeping jazz and the legacy of black jazz musicians alive. In 1982, POBAM became a charter member of the Memphis Black Arts Alliance, Inc., which was organized to nurture artistic excellence and celebrate black heritage.
After diagnosed with lung cancer, Ford became a staunch no smoking advocate encouraging smokers to quit and youngsters not to start.
Family
Ford was the father to twins Jamal and Jamil Ford, who carry on his musical legacy as record producers through their labels and websites, POBAM and WOOKIN. Jacob Ford, the youngest child of Fred Ford, was drafted by the Tennessee Titans in 2007.[4]
Fred Ford died of lung cancer, in November 1999.
Fred Ford & T Hodges W Mitchell Band
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