1894 Lucille Hegamin*
1933 John Mayall*
1953 Jäcki Reznicek*
1957 Jennifer Batten*
1974 Berit Hanssen (Berit Leinum Prytz Hanssen)*
1979 John McNamara*
Jordan Officer*
Martin Lang*
Happy Birthday
John Mayall *29.11.1933
John Mayall, OBE (* 29. November 1933 in Macclesfield, Cheshire, England) ist ein Mitbegründer des britischen Blues Anfang der 1960er Jahre. Er gilt neben Alexis Korner als einer der Väter des britischen Blues (beide tragen den Beinamen „Vater des weißen Blues“) und als einer der Ersten, die diese Musikrichtung von den Wurzeln weg zu experimentelleren Formen brachten.
John Mayall wurde am 29. November 1933 in der englischen Kleinstadt Macclesfield nahe Manchester geboren – weit ab von der schwarzen, US-amerikanischen Blueskultur. Trotzdem kam er schon früh mit der Musik in Berührung, da sein Vater begeisterter Amateur-Jazzmusiker war und ihm im Teenageralter das Spiel auf Gitarre, Banjo und Ukulele beibrachte. Bereits 1950 trat John Mayall in Manchester mit einem Blues-Trio auf. Seine beginnende musikalische Karriere wurde durch den Militärdienst in Korea für drei Jahre unterbrochen. Anschließend besuchte Mayall ab 1955 die Kunsthochschule, wo er eine Ausbildung zum Grafik-Designer abschloss.
Bereits früh in seiner Karriere traf Mayall auf bekannte Musiker. In der 1962 von ihm gegründeten Bluesformation Powerhouse Four, die bald in Blues Syndikat umbenannt wurde, spielte schon der Bassist John McVie. Zu dieser Zeit wurde Alexis Korner auf Mayall aufmerksam und ermutigte ihn, in London als Musiker zu arbeiten. Mayall stellte seine Band erneut um und präsentierte sie 1963 im Londoner Marquee Club unter dem Namen Bluesbreakers, der lange Bestand haben sollte.[1]
Die Besetzung der Bluesbreakers wandelte sich ständig, dabei waren große Namen wie Eric Clapton, Peter Green und John McVie (beide Mitglieder von Fleetwood Mac) und Mick Taylor (bei den Rolling Stones Nachfolger des verstorbenen Brian Jones) unter den Mitspielern. Um 1968 wandelte sich der Stil vom reinen, „klassischen“ Blues zu experimentelleren Formen, zum ersten Mal auf dem Album Blues from Laurel Canyon, das jedoch nicht unter dem Namen der Bluesbreakers entstanden war. Legendär ist das mit Jon Mark und Johnny Almond eingespielte Album The Turning Point von 1969, auf dem Mayall (ohne seinen Schlagzeuger Keef Hartley) verzerrte Leadgitarre und Keyboards spielt. Es gibt Leute, die behaupten, Mayall sei beim Woodstock-Festival aufgetreten, was er jedoch in mehreren Interviews dementierte.[2]In den 1970er Jahren erschienen Alben von sehr unterschiedlichem Charakter. 1979 brannte Mayalls geliebtes Baumhaus im Laurel Canyon ab, wobei zahlreiche Mastertapes und Tagebücher verloren gingen. Als 1982 die Stimmung für Blues auf einem Tiefpunkt war, formierte Mayall für einige Konzerte die alten Bluesbreakers mit Mick Taylor neu und trat ab diesem Zeitpunkt wieder mit traditionellem Bluesbreakers-Sound auf, wobei er sich immer noch als phantasievoller Songwriter zeigte. Er spielte weniger Tasteninstrumente, sondern bevorzugte die (selbstgebaute) Gitarre.
Anlässlich seines 40-jährigen Bühnenjubiläums 2001 spielte eine Reihe bedeutender Rock- und Bluesmusiker zusammen mit Mayall für das Album Along for the Ride; so unter anderem Gary Moore, Chris Rea und Otis Rush. Seinen 70. Geburtstag 2003 feierte John Mayall mit einem Konzert der Bluesbreakers in Liverpool, bei dem auch die alten Freunde Eric Clapton, Mick Taylor und der Jazzmusiker Chris Barber auftraten. Bis heute tourt Mayall mit den Bluesbreakers regelmäßig in den USA, in Europa und Australien, wobei er nicht mehr in großen Konzerthallen, sondern eher in Klubs, aber auch bei den wichtigsten Bluesfestivals auftritt.
John Mayalls Werk ist in den Hitparaden nur wenig vertreten, aber bedeutend für die Weiterentwicklung des Blues. Mayall beeinflusste zahlreiche Musiker. Als Auszeichnung erhielt er die Ernennung zum Officer of the Order of the British Empire im Jahr 2005.
John Mayall, OBE (born 29 November 1933) is an English blues singer, guitarist, organist and songwriter, whose musical career spans over fifty years. In the 1960s, he was the founder of John Mayall & the Bluesbreakers, a band which has counted among its members some of the most famous blues and blues rock musicians. They include Eric Clapton, Peter Green, Jack Bruce, John McVie, Mick Fleetwood, Mick Taylor, Don "Sugarcane" Harris, Harvey Mandel, Larry Taylor, Aynsley Dunbar, Hughie Flint, Jon Hiseman, Dick Heckstall-Smith, Andy Fraser, Johnny Almond, Walter Trout, Coco Montoya and Buddy Whittington.
Biography
Born in Macclesfield, Cheshire in 1933,[2] Mayall's father Murray Mayall, was a guitarist and jazz music enthusiast. From an early age, John was drawn to the sounds of American blues players such as Lead Belly, Albert Ammons, Pinetop Smith, and Eddie Lang, and taught himself to play the piano, guitars, and harmonica.[3]
Mayall spent three years in Korea for national service and, during a period of leave, he bought his first electric guitar. Back in England, he enrolled at Manchester College of Art (now part of Manchester Metropolitan University) and started playing with semi-professional bands. After graduation, he obtained a job as an art designer but continued to play with local musicians. In 1963, he opted for a full-time musical career and moved to London. His previous craft would be put to good use in the designing of covers for many of his coming albums.
Since the end of the 1960s Mayall has lived in the US. A brush fire destroyed his house in Laurel Canyon in 1979, seriously damaging his musical collections and archives.
Mayall has been married twice, and has six grandchildren. His second wife, Maggie Mayall is an American blues performer, and since the early 1980s took part in the management of her husband's career. The pair divorced in 2011.[citation needed]
In 2005 Mayall was appointed Officer of the Order of the British Empire (OBE) in the Honours List.
Early years
In 1956, with college fellow Peter Ward, Mayall had founded the Powerhouse Four which consisted of both men and other local musicians with whom they played at local dances. In 1962 Mayall became a member of the Blues Syndicate. The band was formed by trumpeter John Rowlands and alto saxophonist Jack Massarik, who had seen the Alexis Korner band at a Manchester club and wanted to try a similar blend of jazz and blues. It also included rhythm guitarist Ray Cummings and drummer Hughie Flint, whom Mayall already knew. In 1962 John and his band were frequent and popular artists at all night R&B sessions at the 'Twisted Wheel' cellar club in central Manchester. Alexis Korner persuaded Mayall to opt for a full-time musical career and move to London, where Korner introduced him to many other musicians and helped them to find gigs. In late 1963, with his band which was now called the Bluesbreakers, Mayall started playing at the Marquee Club. The lineup was Mayall, Ward, John McVie on bass and guitarist Bernie Watson, formerly of Cyril Davies and the R&B All-Stars. The next spring Mayall obtained his first recording date with producer Ian Samwell. The band, with Martin Hart at the drums, recorded two tracks : "Crawling Up a Hill" as well as "Mr. James."[4] Shortly after, Hughie Flint replaced Hart and Roger Dean took the guitar from Bernie Watson. This lineup backed John Lee Hooker on his British tour in 1964.
Mayall was offered a recording contract by Decca and, on 7 December 1964, a live performance of the band was recorded at the Klooks Kleek. A later studio-recorded single, "Crocodile Walk", was released along with the album, but both failed to achieve any success and the contract was terminated.
In April 1965 former Yardbirds guitarist Eric Clapton replaced Roger Dean and John Mayall's career entered a decisive phase.[5]
Mid-1960s through 1971
Eric Clapton as guitarist, 1965–66
In 1965, with Eric Clapton as their new guitar player, the Bluesbreakers began attracting considerable attention. That summer the band cut a couple tracks for a single, "I'm Your Witchdoctor" b/w "Telephone Blues" (released in October).[6] In August, however, Clapton left for a jaunt to Greece with a bunch of relative musical amateurs calling themselves the 'Glands'. John Weider, John Slaughter, and Geoff Krivit attempted to fill in as Bluesbreaker guitarist but, finally, Peter Green took charge. John McVie was dismissed, and during the next few months Jack Bruce, from the Graham Bond Organisation, played bass.
In November 1965 Clapton returned, and Green departed as Mayall guaranteed Clapton his spot back in the Bluesbreakers whenever he tired of the Glands.[7] McVie was allowed back, and Bruce left to join Manfred Mann, but not before a live date by the Mayall-Clapton-Bruce-Flint line-up was recorded on Mayall's two-track tape recorder at London's Flamingo Club in November. The rough recording provided tracks that later appeared on the 1969 compilation Looking Back and the 1977 Primal Solos.[8][9] The same line-up also entered the studio to record a planned single, "On Top of the World", which was not released at that time.[10] Mayall and Clapton cut a couple of tracks without the others (although some sources give this as occurring back in the summer): "Lonely Years" b/w "Bernard Jenkins" was released as a single the next August on producer Mike Vernon's Purdah Records label (both tracks appeared again two decades later in Clapton's Crossroads box set). In a November 1965 session, blues pianist-singer Champion Jack Dupree (originally from New Orleans but in the 1960s living in Europe) got Mayall and Clapton to play on a few tracks.[9]
In April 1966 the Bluesbreakers returned to Decca Studios to record a second LP with producer Vernon. The sessions, with horn arrangements for some tracks (John Almond on baritone sax, Alan Skidmore on tenor sax, and Dennis Healey on trumpet), lasted just three days. Blues Breakers with Eric Clapton was released in the UK on 22 July 1966. Several of the 12 tracks were covers of pure Chicago blues (side 1 kicking off strong with Otis Rush's "All Your Love" and Freddy King's hit instrumental "Hide Away" [here spelled without a space as "Hideaway"]); Mayall wrote or arranged 5 (such as "Double Crossing Time", a slow blues with a scorching solo by co-writer Clapton); and Eric debuted as lead vocalist, and began his practice of paying tribute to Robert Johnson, with "Ramblin' on My Mind". The album was Mayall's commercial breakthrough, rising to #6 on the British chart, and has since gained classic status, largely for the audacious aggressiveness and molten fluidity of Clapton's guitar playing. "It's Eric Clapton who steals the limelight," reports music mag Beat Instrumental, adding with unintended understatement, "and no doubt several copies of the album will be sold on the strength of his name."[11]
In the meantime, on 11 June the formation of Cream—Clapton, bassist Jack Bruce, and drummer Ginger Baker—had been revealed in the music press, much to the embarrassment of Clapton, who had not said anything about this to Mayall. (After a May Bluesbreakers gig at which Baker had sat in, he and Clapton had first discussed forming their own band, and surreptitious rehearsal jams with Bruce soon commenced.) Eric's last scheduled gig with the Bluesbreakers was 17 July in Bexley, south-east of London;[12] Cream made a warmup club debut 29 July in Manchester and its "official" live debut two days later at the Sixth National Jazz and Blues Festival, Windsor.
Peter Green as guitarist, 1966–67
Mayall had to replace Clapton, and he succeeded in persuading Peter Green to come back. During the following year, with Green on guitar and various other sidemen, some 40 tracks were recorded. The album A Hard Road was released in February 1967. Today its expanded versions include most of this material, and the album itself also stands as a classic. Early 1967 Mayall released an EP recorded with American bluesharpist Paul Butterfield.
But Peter Green gave notice and soon started his own project, Peter Green's Fleetwood Mac, which eventually was to include all three of Mayall's Bluesbreakers at this time: Green, McVie, and drummer Mick Fleetwood who was a Bluesbreaker for only a couple of weeks.
Mick Taylor as guitarist, 1967–69
Mayall's first choice to replace Green was 18-year-old David O'List, guitarist from the Attack. O'List declined, however, and went on to form the Nice with organist Keith Emerson. Through both a "musicians wanted" ad in Melody Maker on 10 June and his own search, Mayall found three other potential guitarists for his Bluesbreakers, a black musician named Terry Edmonds, John Moorshead, and 18-year-old Mick Taylor. The latter made the band quickly, but Mayall also decided to hire Edmonds as a rhythm guitarist for a few days.[13]
In the meantime, on a single day in May 1967, Mayall had assembled a studio album to showcase his own abilities. Former Artwoods drummer Keef Hartley appeared on only half of the tracks, and everything else was played by Mayall. The album was released in November titled The Blues Alone.
A six-piece lineup—consisting of Mayall, Mick Taylor as lead guitarist, John McVie still on bass, Hughie Flint or Hartley on drums, and Rip Kant and Chris Mercer on saxophones—recorded the album Crusade on 11 and 12 July 1967. These Bluesbreakers spent most of the year touring abroad, and Mayall taped the shows on a portable recorder. At the end of the tour, he had over sixty hours of tapes, which he edited into an album in two volumes: Diary of a Band, Vols. 1 & 2, released in February 1968. Meanwhile, a few lineup changes had occurred: McVie had departed and was replaced by Paul Williams, who himself soon quit to join Alan Price and was replaced by Keith Tillman; Dick Heckstall-Smith had taken the sax spot.
Following a U.S. tour, there were more lineup changes, starting with the troublesome bass position. First Mayall replaced bassist Tillman with 15-year-old Andy Fraser. Within six weeks, though, Fraser left to join Free and was replaced by Tony Reeves, previously a member of the New Jazz Orchestra. Hartley was required to leave, and he was replaced by New Jazz Orchestra drummer Jon Hiseman (who had also played with the Graham Bond Organisation). Henry Lowther, who played violin and cornet, joined in February 1968. Two months later the Bluesbreakers recorded Bare Wires, co-produced by Mayall and Mike Vernon, which came up to #6.
Hiseman, Reeves, and Heckstall-Smith then moved on to form Colosseum. The Mayall lineup retained Mick Taylor and added drummer Colin Allen (formerly of Zoot Money's Big Roll Band / Dantalian's Chariot, and Georgie Fame) and a young bassist named Stephen Thompson. In August 1968 the new quartet recorded Blues from Laurel Canyon.
On 13 June 1969, after nearly two years with Mayall, Taylor left and officially joined the Rolling Stones.
Mark-Almond period, 1969–70
Chas Crane filled in briefly on guitar.[citation needed] Drummer Allen departed to join Stone the Crows. This left as the only holdover bassist Thompson who would also eventually join Stone the Crows.
Mayall tried a new format with lower volume, acoustic instruments, and no drummer. He recruited acoustic fingerstyle guitarist Jon Mark and flautist-saxophonist John Almond. Mark was best known as Marianne Faithfull's accompanist for three years and for having been a member of the band Sweet Thursday (which included pianist Nicky Hopkins and future Cat Stevens collaborator Alun Davies, also a guitarist). Almond had played with Zoot Money and Alan Price and was no stranger to Mayall's music—he had played baritone sax on 4 cuts of Blues Breakers with Eric Clapton and some of A Hard Road. This new band was markedly different from previous Mayall projects, and its making is well documented both on the 1999 double CD The Masters and on the 2004 DVD The Godfather of British Blues: The Turning Point.
Along with the big change in sound, Mayall decided on a big change in scenery: a move to Los Angeles. The new band made its U.S. debut at the Newport Jazz Festival on 5 July,[13] whilst the 12 July performance at the Fillmore East provided the tracks for the live album The Turning Point. A studio album, Empty Rooms, was recorded with the same personnel, with Mayall's next bassist, former Canned Heat member Larry Taylor, playing bass in a duet with Thompson on "To a Princess."
Harvey Mandel as guitarist, 1970–71
Mayall continued the experiment of formations without drummers on two more albums, although he took on a new electric blues-rock-R&B band in guitarist Harvey Mandel and bassist Larry Taylor, both plucked from Canned Heat, and wailing violinist Don "Sugarcane" Harris, lately of the Johnny Otis Show. On USA Union (recorded in Los Angeles, 27–28 July 1970), though, Mandel was compelled to make do without his remarkable sustain and usage of feedback as musical, even melodic, technique; and on Memories the band was stripped down to a trio with Taylor and Ventures guitarist Gerry McGee.
In November 1970 Mayall launched a recording project involving many of the most notable musicians with whom he had played during the previous several years. The double album Back to the Roots features Clapton, Mick Taylor, Gerry McGee and Harvey Mandel on guitar; Sugarcane Harris on violin; Almond on woodwinds; Thompson and Larry Taylor on bass; and Hartley on drums. Paul Lagos was with Sugarcane and ended up drumming on five. Mayall wrote all the songs and sang all the vocals, as usual by now, plus played harmonica, guitar, keyboards, drums, and percussion. The London sessions took place in January 1971 and as such represent some of Clapton's last work before Derek and the Dominos' attempted Layla follow-up sessions and band disintegration that spring.
Back to the Roots did not promote new names, and USA Union and Memories had been recorded with American musicians. Mayall had exhausted his catalytic role on the British blues-rock scene and was living in L.A. Yet, the list of musicians who benefited from association with him, starting with ruling the London blues scene, remains impressive.[14]
1970s–1990s
By the start of the 1970s Mayall had relocated in the USA where he spent most of the next 15 years, recording with local musicians for various labels. In August 1971, Mayall produced a jazz-oriented session for bluesman Albert King[15] and a few months later took on tour the musicians present in the studio.
A live album Jazz Blues Fusion was released in the following year, with Mayall on harmonica, guitar and piano, Blue Mitchell on trumpet, Clifford Solomon and Ernie Watts on saxophones, Larry Taylor on bass, Ron Selico on drums and Freddy Robinson on guitar. A few personnel changes are noted at the release of a similar album in 1973, the live Moving On. During the next decade Mayall continued shifting musicians and switching labels and released a score of albums. Tom Wilson, Don Nix and Allen Toussaint occasionally served as producers. At this stage of his career most of Mayall's music was rather different from electric blues played by rock musicians, incorporating jazz, funk or pop elements and adding even female vocals. A notable exception is The Last Of the British Blues (1978), a live album excused apparently by its title for the brief return to this type of music.[16]
Return of the Bluesbreakers
In 1982 Mayall was reunited with Mick Taylor, John McVie and Colin Allen, three musicians of his 1960s lineups, for a two-year world tour from which a live album would emerge a decade later.
In 1984 Mayall restored the name Bluesbreakers for a lineup comprising the two lead guitars of Walter Trout and Coco Montoya, bassist Bobby Haynes and drummer Joe Yuele. The mythic name did, perhaps, something to enhance the interest in a band which by all standards was already remarkable.
A successful world tour and live recordings achieved the rest. In the early 1990s most of the excitement was already spent and Buddy Whittington became the sole lead guitarist in a formation which included then organist Tom Canning.
On the occasion of the 40th year of his career Mayall received carte blanche to invite fellow musicians for the recording of a celebratory album. Along for the Ride appeared in 2001, credited to John Mayall and Friends with twenty names listed on the cover, including some Bluesbreakers, old and new, and also Gary Moore, Jonny Lang, Steve Cropper, Steve Miller, Otis Rush, Billy Gibbons, Chris Rea, Jeff Healey, Shannon Curfman and a few others.
To celebrate his 70th birthday Mayall reunited with special guests Eric Clapton, Mick Taylor and Chris Barber during a fundraiser show. This "Unite for Unicef" concert took place on 19 July 2003 at the Kings Dock Arena in Liverpool and was captured on film for a DVD release. In 2005, Mayall was awarded an OBE in the Honours List. "It's the only major award I've ever received. I've never had a hit record or a Grammy or been in the Rock and Roll Hall of Fame." commented Mayall.[17]
In November 2008, Mayall announced on his website he was disbanding the Bluesbreakers, to cut back on his heavy workload and give himself freedom to work with other musicians. Three months later a solo world tour was announced, with: Rocky Athas on guitar, Greg Rzab on bass, and Jay Davenport on drums. Tom Canning, on organ, joined the band for the tour which started in March 2009. An album was released in September 2009. Since then, Mayall has continued to tour with the same backing band, minus Canning, who left due to other priorities.
"ROOM TO MOVE" - JOHN MAYALL , best version
STEPPIN'
OUT (1966) by John Mayall's Bluesbreakers
Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970) was an American singer and entertainer, and a pioneer African-American blues recording artist.
Life and career
Lucille Nelson was born in Macon, Georgia, United States, the daughter of John and Minnie Nelson.[1] From an early age she sang in local church choirs and theatre programs.[1] By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company.[2] In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin.[3] She later told a biographer: "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the "St. Louis Blues" popular in Chicago; this was one of my feature numbers."[4]
The Hegamins moved to Los Angeles, California in 1918, then to New York City the following year.[5] Bill Hegamin led his wife's accompanying band, called the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.
In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith.[6] Hegamin made a series of recordings for the Arto record label through 1922, and then a few sides for Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and soon released on no fewer than nine other labels, including Black Swan.[5] Hegamin recorded one of Tom Delaneys' earliest compositions, "Jazz Me Blues", in 1921, and it went on to become a jazz standard.[7] Lucille Hegamin subsequently played theatre dates but did not tour extensively.[5]
On January 20, 1922, she competed in a blues singing contest against Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry's First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.[8]
From 1922 through late 1926 she recorded over forty sides for Cameo Records; from this association she was billed as "The Cameo Girl".[9] After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was pianist J. Cyrill Fullerton.[10] In 1926, Hegamin recorded with Clarence Williams' band for the Columbia label. She performed in Clarence Williams' Revue at the Lincoln Theater in New York, then in various revues in New York and Atlantic City, New Jersey through 1934. In 1929 she appeared on the radio show "Negro Achievement Hour" on WABC, New York.[11] In 1932 she recorded two sides for Okeh Records.
About 1934 she retired from music as a profession, and worked as a nurse. She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother[12] for the Bluesville Records label. In 1962 she recorded an album, Basket of Blues for the Spivey label. She performed at a Mamie Smith Benefit concert at the Celebrity Club in New York City in 1964.[11]
Lucille Hegamin died in Harlem Hospital in New York on March 1, 1970,[13] and was interred in the Cemetery of the Evergreens in Brooklyn, New York.[11]
Style
Lucille Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.[14] According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide."[15] Like Mamie Smith, Hegamin sang classic female blues in a lighter, more pop-tune influenced style than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith who became more popular a few years later.
Life and career
Lucille Nelson was born in Macon, Georgia, United States, the daughter of John and Minnie Nelson.[1] From an early age she sang in local church choirs and theatre programs.[1] By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company.[2] In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin.[3] She later told a biographer: "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the "St. Louis Blues" popular in Chicago; this was one of my feature numbers."[4]
The Hegamins moved to Los Angeles, California in 1918, then to New York City the following year.[5] Bill Hegamin led his wife's accompanying band, called the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.
In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith.[6] Hegamin made a series of recordings for the Arto record label through 1922, and then a few sides for Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and soon released on no fewer than nine other labels, including Black Swan.[5] Hegamin recorded one of Tom Delaneys' earliest compositions, "Jazz Me Blues", in 1921, and it went on to become a jazz standard.[7] Lucille Hegamin subsequently played theatre dates but did not tour extensively.[5]
On January 20, 1922, she competed in a blues singing contest against Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry's First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.[8]
From 1922 through late 1926 she recorded over forty sides for Cameo Records; from this association she was billed as "The Cameo Girl".[9] After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was pianist J. Cyrill Fullerton.[10] In 1926, Hegamin recorded with Clarence Williams' band for the Columbia label. She performed in Clarence Williams' Revue at the Lincoln Theater in New York, then in various revues in New York and Atlantic City, New Jersey through 1934. In 1929 she appeared on the radio show "Negro Achievement Hour" on WABC, New York.[11] In 1932 she recorded two sides for Okeh Records.
About 1934 she retired from music as a profession, and worked as a nurse. She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother[12] for the Bluesville Records label. In 1962 she recorded an album, Basket of Blues for the Spivey label. She performed at a Mamie Smith Benefit concert at the Celebrity Club in New York City in 1964.[11]
Lucille Hegamin died in Harlem Hospital in New York on March 1, 1970,[13] and was interred in the Cemetery of the Evergreens in Brooklyn, New York.[11]
Style
Lucille Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.[14] According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide."[15] Like Mamie Smith, Hegamin sang classic female blues in a lighter, more pop-tune influenced style than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith who became more popular a few years later.
Mississippi Blues - Lucille Hegamin And Her Blue Flame Syncopators (Bell)1921
Jennifer Batten *29.11.1957
Jennifer Batten (* 29. November 1957 in New York) ist eine US-amerikanische E-Gitarristin.
Biografie
Jennifer Batten begann bereits im Alter von acht Jahren E-Gitarre zu spielen. Ab 1979 absolvierte sie ein Studium am 1977 von Howard Roberts gegründeten Guitar Institute of Technology (G.I.T.) in Hollywood, Kalifornien,[1] wo sie sich mit dem Gitarristen Steve Lynch anfreundete, der ebenso wie Batten an der Entwicklung der damals populär werdenden Tappingtechnik beteiligt war. Nach dem Studium spielte sie in mehreren lokalen Bands und unterrichtete am G.I.T.
Einem größeren Publikum bekannt wurde sie durch ihr Engagement als Leadgitarristin von Michael Jackson, für das sie 1987 in einem Casting aus 100 Gitarristen ausgewählt wurde. Bis zur Jacksons HIStory Tour von 1997 war sie fester Bestandteil seiner Liveband und Bühnenshow. Sie erregte dabei nicht nur durch ihr extravagantes Auftreten Aufsehen, sondern auch durch ihr innovatives Gitarrenspiel und die Perfektionierung der, durch Edward Van Halen populär gewordenen, Spieltechnik des sogenannten Tappings. So spielte sie zum Beispiel das Solo zum Song Beat it live auf Jacksons Konzerten, auch wenn das ursprüngliche Beat it-Solo der Plattenversion nachträglich aus mehreren Soli zusammengemischt wurde, die Edward Van Halen im Studio eingespielt hatte.[2] Ebenfalls mit dieser Technik spielte sie den ursprünglich für Orchester komponierten Hummelflug von Rimski-Korsakow, der als Solostück hohe Anforderungen stellt.
Während ihrer Zeit bei Michael Jackson nahm sie 1992 ihr erstes Soloalbum Above, Below And Beyond auf, welches von Michael Sembello produziert wurde. 1995 gründete sie eine eigene Band, The Immigrants, und veröffentlichte mit ihr 1995 das Album One Planet Under One Groove.[3] Das zweite Soloalbum Momentum, das stärker weltmusikalisch orientiert ist, folgte 1997. Ein Jahr später wurde sie von Jeff Beck in seine Band aufgenommen und spielte auf zwei seiner Alben (Who Else! und You had it Coming).[1] Ihr drittes Soloalbum Whatever wurde im September 2007 in Japan veröffentlicht.
Jennifer Batten hat zahlreiche Liveauftritte absolviert, an zahlreichen weiteren CDs mitgewirkt, hatte einen Gastauftritt in Michael Jacksons Film Moonwalker und veröffentlichte mehrere Lehrbücher und -videos, insbesondere zum Thema Tapping.
Biografie
Jennifer Batten begann bereits im Alter von acht Jahren E-Gitarre zu spielen. Ab 1979 absolvierte sie ein Studium am 1977 von Howard Roberts gegründeten Guitar Institute of Technology (G.I.T.) in Hollywood, Kalifornien,[1] wo sie sich mit dem Gitarristen Steve Lynch anfreundete, der ebenso wie Batten an der Entwicklung der damals populär werdenden Tappingtechnik beteiligt war. Nach dem Studium spielte sie in mehreren lokalen Bands und unterrichtete am G.I.T.
Einem größeren Publikum bekannt wurde sie durch ihr Engagement als Leadgitarristin von Michael Jackson, für das sie 1987 in einem Casting aus 100 Gitarristen ausgewählt wurde. Bis zur Jacksons HIStory Tour von 1997 war sie fester Bestandteil seiner Liveband und Bühnenshow. Sie erregte dabei nicht nur durch ihr extravagantes Auftreten Aufsehen, sondern auch durch ihr innovatives Gitarrenspiel und die Perfektionierung der, durch Edward Van Halen populär gewordenen, Spieltechnik des sogenannten Tappings. So spielte sie zum Beispiel das Solo zum Song Beat it live auf Jacksons Konzerten, auch wenn das ursprüngliche Beat it-Solo der Plattenversion nachträglich aus mehreren Soli zusammengemischt wurde, die Edward Van Halen im Studio eingespielt hatte.[2] Ebenfalls mit dieser Technik spielte sie den ursprünglich für Orchester komponierten Hummelflug von Rimski-Korsakow, der als Solostück hohe Anforderungen stellt.
Während ihrer Zeit bei Michael Jackson nahm sie 1992 ihr erstes Soloalbum Above, Below And Beyond auf, welches von Michael Sembello produziert wurde. 1995 gründete sie eine eigene Band, The Immigrants, und veröffentlichte mit ihr 1995 das Album One Planet Under One Groove.[3] Das zweite Soloalbum Momentum, das stärker weltmusikalisch orientiert ist, folgte 1997. Ein Jahr später wurde sie von Jeff Beck in seine Band aufgenommen und spielte auf zwei seiner Alben (Who Else! und You had it Coming).[1] Ihr drittes Soloalbum Whatever wurde im September 2007 in Japan veröffentlicht.
Jennifer Batten hat zahlreiche Liveauftritte absolviert, an zahlreichen weiteren CDs mitgewirkt, hatte einen Gastauftritt in Michael Jacksons Film Moonwalker und veröffentlichte mehrere Lehrbücher und -videos, insbesondere zum Thema Tapping.
Jennifer Batten (born November 29, 1957) is an American guitarist who has worked as a session musician and solo artist.[1] She has released three studio albums: her 1992 debut, Above Below and Beyond (produced by former Stevie Wonder guitarist Michael Sembello), the worldbeat-influenced Jennifer Batten's Tribal Rage: Momentum in 1997, and Whatever, which was released on CD and DVD in Japan in September 2007 and worldwide in April 2008.
She authored two music books: Two Hand Rock (published by Hal Leonard) and The Transcribed Guitar Solos of Peter Sprague.
Away from music Batten enjoys creating stained glass art.[2]
Early years
Batten began to play guitar at the age of 8 when her father bought her a "killer red and blue electric". Her early influences came from The Beatles, BB King, Lightnin' Hopkins and Jeff Beck.[2]
Batten started to experiment with "2 handed tapping technique" from classmate Steve Lynch while attending the Musicians Institute in 1978.[2]
Musical career
Batten has appeared on recordings such as Jeff Beck's Who Else! (1999) and You Had It Coming (2001), Michael Sembello's Heavy Weather (1992), Bret Helm's "Doc Tahri" and the debut of The Immigrants. Her music video appearances include Jeff Beck (Live in Japan), Michael Jackson (Moonwalker-"Come Together"), Natalie Cole-"Wild Women Do", Sara Hickman and Miguel Mateos's "Obsesión".
Batten played lead and rhythm guitar on Michael Jackson's Bad (1987–1989), Dangerous (1992) and HIStory (1996–1997) world tours, and on his 1993 Super Bowl half-time performance, which was aired to 1.5 billion people in 80 nations (the largest audience in television history).
She was in British guitar legend Jeff Beck's band for three years from 1999.
Between 1994 and 1999 Batten worked with Dave Rodgers and Domino as featured guitarist on the eurobeat songs "Sun City", "Music For the People", "Fly" and "Woa Woa Woa." Her writing and performing is uncredited in several other songs under the A-Beat C label.[citation needed] Her live Eurobeat appearances were limited to playing at the Tokyo Dome with Rodgers and Queen of Hearts.
In 2010 she recorded a solo for the song "Bad Girls" by Polish singer Doda.
In November 2011, Batten was featured on BBC Radio 4's series "Joan Armatrading's More Guitar Favourites".
She authored two music books: Two Hand Rock (published by Hal Leonard) and The Transcribed Guitar Solos of Peter Sprague.
Away from music Batten enjoys creating stained glass art.[2]
Early years
Batten began to play guitar at the age of 8 when her father bought her a "killer red and blue electric". Her early influences came from The Beatles, BB King, Lightnin' Hopkins and Jeff Beck.[2]
Batten started to experiment with "2 handed tapping technique" from classmate Steve Lynch while attending the Musicians Institute in 1978.[2]
Musical career
Batten has appeared on recordings such as Jeff Beck's Who Else! (1999) and You Had It Coming (2001), Michael Sembello's Heavy Weather (1992), Bret Helm's "Doc Tahri" and the debut of The Immigrants. Her music video appearances include Jeff Beck (Live in Japan), Michael Jackson (Moonwalker-"Come Together"), Natalie Cole-"Wild Women Do", Sara Hickman and Miguel Mateos's "Obsesión".
Batten played lead and rhythm guitar on Michael Jackson's Bad (1987–1989), Dangerous (1992) and HIStory (1996–1997) world tours, and on his 1993 Super Bowl half-time performance, which was aired to 1.5 billion people in 80 nations (the largest audience in television history).
She was in British guitar legend Jeff Beck's band for three years from 1999.
Between 1994 and 1999 Batten worked with Dave Rodgers and Domino as featured guitarist on the eurobeat songs "Sun City", "Music For the People", "Fly" and "Woa Woa Woa." Her writing and performing is uncredited in several other songs under the A-Beat C label.[citation needed] Her live Eurobeat appearances were limited to playing at the Tokyo Dome with Rodgers and Queen of Hearts.
In 2010 she recorded a solo for the song "Bad Girls" by Polish singer Doda.
In November 2011, Batten was featured on BBC Radio 4's series "Joan Armatrading's More Guitar Favourites".
jennifer batten - blues - live in roma -stazione birra
https://www.youtube.com/watch?v=9MqR2SNH_k8
https://www.facebook.com/bl.ph.9/photos_albums
https://www.facebook.com/TheBandTheB/?fref=ts
Berit Hanssen (Berit Leinum Prytz Hanssen) *29.11.1974
https://www.facebook.com/TheBandTheB/?fref=ts
The Bitch & the Bluesmen
Since the start in the autumn of 2010, Berit and Stein has kept together this fun little bluesy band with a genuine love for quality music and strong live performances. The influences are many, but the blues and the rock of the seventies remain amongst the genres that inspires the band the most. From the rather hesitant and searching first version of the band, until present days confident and playful lineup, one simple principal has been held on to firmly: It’s all about the music, and having fun while performing it. If it stops being fun, the band will simply stop doing it!
In 2015 the band decided to take the music one step further, and they released their debut album, “Hands All Dirty”. The band is currently writing music for their second album (release date not set, hopefully sometime during 2016 though).
The band is, and has always been a live act, first and foremost. Performing the music live in front of an enthusiastic crowd will always be what gives the music an edge, and is ultimately what it’s all about. Many good musicians has been part of the lineup for longer or shorter periods of time, but today’s lineup of skillful musicians has to be the most exciting version of the band this far. To bring the raw and energetic music to a venue near you, we present to you this fine collection of musicians:
On lead vocals, masterly fronting the band: Berit Leinum Prytz Hanssen
On the guitar and on backing vocals: Stein Hanssen
On the bass guitar: John “Mini” Kamphaug
On the drums: John Eirik Nilsen
Since the start in the autumn of 2010, Berit and Stein has kept together this fun little bluesy band with a genuine love for quality music and strong live performances. The influences are many, but the blues and the rock of the seventies remain amongst the genres that inspires the band the most. From the rather hesitant and searching first version of the band, until present days confident and playful lineup, one simple principal has been held on to firmly: It’s all about the music, and having fun while performing it. If it stops being fun, the band will simply stop doing it!
In 2015 the band decided to take the music one step further, and they released their debut album, “Hands All Dirty”. The band is currently writing music for their second album (release date not set, hopefully sometime during 2016 though).
The band is, and has always been a live act, first and foremost. Performing the music live in front of an enthusiastic crowd will always be what gives the music an edge, and is ultimately what it’s all about. Many good musicians has been part of the lineup for longer or shorter periods of time, but today’s lineup of skillful musicians has to be the most exciting version of the band this far. To bring the raw and energetic music to a venue near you, we present to you this fine collection of musicians:
On lead vocals, masterly fronting the band: Berit Leinum Prytz Hanssen
On the guitar and on backing vocals: Stein Hanssen
On the bass guitar: John “Mini” Kamphaug
On the drums: John Eirik Nilsen
The Bitch And The Bluesmen2015 Bad Day Blues
John McNamara *29.11.1979
"The Bastard made me feel insecure, He's So Good!" - Russell Morriss (Australian Music Icon)
"Soulful is rather an understatement... Listeners were hypnotised into silence by his raw rustic tone... A beautiful purity to his voice." BroadWay Baby -Edinburgh 2012
"An Exceptional musical experience... I felt nothing but a sense of privilige... A Deeply Satisfying show." - Three Weeks Edinburgh 2012
"Masterful Blues Guitar was Brilliant and Blisteringly fast...Resonant & Powerful\." - Rip It Up Adelaide fringe 2013
"Exciting Blues... The Audience was mesmerized." -Rip It Up 2014
Australian Soul/Blues artist John McNamara released his debut Album "Alone With The Blues -One Voice, One Guitar" in August 2014.
John Won the MBAS Blues Challenge Solo/Duo Catergory in July 2014 and represented the Australian Blues in the International Blues Challenge in Memphis Jan 2015!
John Won an Australian Blues Music Award (Chain Award) For "Song Of The Year" for his accapela tune "Burn, Burn, Burn" -Feb 2015
July 2015 John Toured all over Japan with Mr. big Vocalist Eric Martin and Mr. Big Drummer Pat Torpey. The Live Tokyo Show was aired on Japanese TV and the DVD was released in Jan 2016.
Taking cues from soul greats such as Otis Redding, Sam Cooke and Bobby Bland, John Delivers an emotionally charged performance, with fiery Blues and Slick Guitar Playing making John McNamara the new artist to watch on the blues scene.
John has worked as a Guitarist for local and international acts and appeared on programs such as Chanel 10's 'The Morning Show' , Rage & MTV. Opening for acts such as Joanne Shaw Taylor, Jon Stevens, Rick Price, Diesel, Shannon Knoll, Russell Morris aswell as touring with Mr. Big Vocalist Eric Martin.
John has found acoustic soul & blues to be the perfect showcase for his guitar playing and powerful voice. With a style and delivery that stays authentic to it's roots.
John has Wowed Audiences and critics world wide. With 2 successful Edinburgh Fringe Festivals under his belt (2012 & 2013) Two Tours of Germany and a Tour of Singapore and Malaysia!
John has become a regular on the Aus Blues scene, Playing Festivals and shows all over the country showcasing his unique talents.
"So much Soul and Edge for a young Man. If you put Jonny Lang, Chris Robinson , Diesel and perhaps Me in a blender you'll get a powerful cocktail for sure. But nothing will prepare you for the new taste of old soul that is John McNamara." - ERIC MARTIN (Mr. big vocalist.)
"Soulful is rather an understatement... Listeners were hypnotised into silence by his raw rustic tone... A beautiful purity to his voice." BroadWay Baby -Edinburgh 2012
"An Exceptional musical experience... I felt nothing but a sense of privilige... A Deeply Satisfying show." - Three Weeks Edinburgh 2012
"Masterful Blues Guitar was Brilliant and Blisteringly fast...Resonant & Powerful\." - Rip It Up Adelaide fringe 2013
"Exciting Blues... The Audience was mesmerized." -Rip It Up 2014
Australian Soul/Blues artist John McNamara released his debut Album "Alone With The Blues -One Voice, One Guitar" in August 2014.
John Won the MBAS Blues Challenge Solo/Duo Catergory in July 2014 and represented the Australian Blues in the International Blues Challenge in Memphis Jan 2015!
John Won an Australian Blues Music Award (Chain Award) For "Song Of The Year" for his accapela tune "Burn, Burn, Burn" -Feb 2015
July 2015 John Toured all over Japan with Mr. big Vocalist Eric Martin and Mr. Big Drummer Pat Torpey. The Live Tokyo Show was aired on Japanese TV and the DVD was released in Jan 2016.
Taking cues from soul greats such as Otis Redding, Sam Cooke and Bobby Bland, John Delivers an emotionally charged performance, with fiery Blues and Slick Guitar Playing making John McNamara the new artist to watch on the blues scene.
John has worked as a Guitarist for local and international acts and appeared on programs such as Chanel 10's 'The Morning Show' , Rage & MTV. Opening for acts such as Joanne Shaw Taylor, Jon Stevens, Rick Price, Diesel, Shannon Knoll, Russell Morris aswell as touring with Mr. Big Vocalist Eric Martin.
John has found acoustic soul & blues to be the perfect showcase for his guitar playing and powerful voice. With a style and delivery that stays authentic to it's roots.
John has Wowed Audiences and critics world wide. With 2 successful Edinburgh Fringe Festivals under his belt (2012 & 2013) Two Tours of Germany and a Tour of Singapore and Malaysia!
John has become a regular on the Aus Blues scene, Playing Festivals and shows all over the country showcasing his unique talents.
"So much Soul and Edge for a young Man. If you put Jonny Lang, Chris Robinson , Diesel and perhaps Me in a blender you'll get a powerful cocktail for sure. But nothing will prepare you for the new taste of old soul that is John McNamara." - ERIC MARTIN (Mr. big vocalist.)
John McNamara "Alone With The Blues" (Album promo)
John McNamara- Losing Back My Mind @Jazz Bar.
Jordan Officer *29.11.
Hal Leonard, the biggest editor of sheet music and music books in the world, has recently included Jordan Officer amongst the greats in Scott Yanow’s publication “The Great Jazz Guitarists, The Ultimate Guide.” Jordan is acclaimed not only for his virtuosity, but also for his unequaled sensitivity and sober elegance. Composer and singer, as well as guitarist, Jordan has the gift of blending blues, jazz, country and rock’n’roll into a single and personal style. And when he works his magic, the Jordan Officer sound is unforgettable.
Up until 2010, Jordan Officer was principally known as the jazz guitarist, cofounder of the “Susie Arioli Band featuring Jordan Officer”. Their band, “discovered” at the Montreal Jazz Festival in 1998 grew to be known throughout Quebec, Canada and internationally for its unique covers of jazz standards: Susie’s velvety smooth voice and Jordan’s powerful, yet understated jazz guitar. Over the next 12 years, they sold over 250,000 albums. Their album, Christmas Dreaming as well as their DVD Live at the Montreal International Jazz Festival both received Gold status in sales. Besides playing guitar and composing instrumentals on each of their albums, Jordan produced 4 of them: Learn to smile again, Night Lights, Christmas Dreaming, and All the way.
In 2010, Jordan released his first, self-titled solo album and was awarded the “Album of the year – Jazz Creation” award from l’ADISQ (the Quebec music industry association). In July 2013, Jordan and his family moved to New York City for six months. Here he wrote songs for his first full-length blues album, I’m Free. During this time, Jordan collaborated with some excellent New York musicians, recorded his album and performed regularly at Rockwood Music Hall and other venues. This album serves as an introduction to Jordan Officer the bluesman: his story and the music he loves, with a little dose of New York City energy. I’m Free was released in March of 2014. Since then, Jordan toured extensively in Quebec, Ontario and France. In fact, his I’m Free show has been nominated for an ADISQ award for Anglophone show of the year. One of the songs on this album, the haunting “Life just showed me” was also selected by Daniel Lanois as a winner in Uprise.fm’s Share Your Live contest.
Early in 2015 Jordan was in the USA again, this time in Los Angeles, to spend a month studying and playing music, and absorbing the surf and the laid-back west coast vibe. The upcoming album is definitely blues once again, but other influences such as jazz and country are also present. The album also contains blues/jazz renditions of some of Jordan’s all-time favourite American songs, which over the years have been part of the sound-track of his life. Jordan is preparing for the release of Blue Skies in the fall of 2015. He is also looking forward to some international touring: France in November of 2015, and USA in January of 2016.
Up until 2010, Jordan Officer was principally known as the jazz guitarist, cofounder of the “Susie Arioli Band featuring Jordan Officer”. Their band, “discovered” at the Montreal Jazz Festival in 1998 grew to be known throughout Quebec, Canada and internationally for its unique covers of jazz standards: Susie’s velvety smooth voice and Jordan’s powerful, yet understated jazz guitar. Over the next 12 years, they sold over 250,000 albums. Their album, Christmas Dreaming as well as their DVD Live at the Montreal International Jazz Festival both received Gold status in sales. Besides playing guitar and composing instrumentals on each of their albums, Jordan produced 4 of them: Learn to smile again, Night Lights, Christmas Dreaming, and All the way.
In 2010, Jordan released his first, self-titled solo album and was awarded the “Album of the year – Jazz Creation” award from l’ADISQ (the Quebec music industry association). In July 2013, Jordan and his family moved to New York City for six months. Here he wrote songs for his first full-length blues album, I’m Free. During this time, Jordan collaborated with some excellent New York musicians, recorded his album and performed regularly at Rockwood Music Hall and other venues. This album serves as an introduction to Jordan Officer the bluesman: his story and the music he loves, with a little dose of New York City energy. I’m Free was released in March of 2014. Since then, Jordan toured extensively in Quebec, Ontario and France. In fact, his I’m Free show has been nominated for an ADISQ award for Anglophone show of the year. One of the songs on this album, the haunting “Life just showed me” was also selected by Daniel Lanois as a winner in Uprise.fm’s Share Your Live contest.
Early in 2015 Jordan was in the USA again, this time in Los Angeles, to spend a month studying and playing music, and absorbing the surf and the laid-back west coast vibe. The upcoming album is definitely blues once again, but other influences such as jazz and country are also present. The album also contains blues/jazz renditions of some of Jordan’s all-time favourite American songs, which over the years have been part of the sound-track of his life. Jordan is preparing for the release of Blue Skies in the fall of 2015. He is also looking forward to some international touring: France in November of 2015, and USA in January of 2016.
Jordan Officer - Then She Kissed Me
Jäcki Reznicek *29.11.1953
Studium an der Hochschule für Musik "C.M.v.Weber" Dresden, Hauptfach Kontrabass und Baßgitarre bei Lothar Spiller
Bassist bei Klaus-Lenz-Big Band; Veronika Fischer & Band; 4PS; PANKOW; Barbara Thalheim; Gitarreros; King Kong; Steve Horn Band; East Blues Experience; SILLY; Ines Paulke Band; Joachim Witt, Mike Kilian Band, JUMP Arena Band, Andrè Herzberg Band, RAUSCHHARDT, Driftwood Holly u.a. (z.B. verschiedene Jazz- und Studioformationen)
Studiomusiker und Basslehrer, seit 1991 Dozent für Bass an der Hochschule für Musik "Carl Maria von Weber" Dresden
Mehrere Album- und Buchveröffentlichungen, Interviews, Artikel, Photos und Workshops (u.a. "Melodie & Rhythmus" (diverse); "The Bass" (Feb.90); "PieÄh" (91); "Bass Professor" (Jan.99); "Tamara Danz" / Ch.Links.Verlag; "Du hast den Farbfilm vergessen und andere Ostrockgeschichten" / Schwarzkopf&Schwarzkopf Verlag; "Veronika Fischer-Diese Sehnsucht nach Wärme" / Verlag Das Neue Berlin); "Die Ärzte" / Schwarzkopf&Schwarzkopf Verlag
Mehrere Basslehrbücher publiziert : "Groove Time" (Breitkopf&Härtel); "ROCKBASS" (AMA); "Die AMA-Bassgitarren-Griff-Tabelle" (AMA); "Mein 1. Bass" (AMA); "ROCKBASS / English Version" (AMA); "I'm Walking-Jazzbass" (AMA); "I'm Walking-Jazzbass / Japanese Version" ( ATN-Inc.); "ROCKBASS" / ChineseVersion (Musechina); "Creating Modern Bassparts" (AMA)
In der ehemaligen DDR vier Mal zum besten Bassisten des Landes gewählt
Tourneen mit verschiedenen Bands (z.B. Klaus-Lenz-Big Band; Veronika Fischer & Band ) durch ganz Osteuropa (UdSSR, Polen, CSSR, Ungarn, Bulgarien, Rumänien)
Mit Silly Tourneen in UdSSR, Dänemark, Österreich; Auftritte auf diversen Festivals in Deutschland, Dänemark (Mitfün; Skanderborg u.a.), Portugal, Österreich und 1990 Gig auf der NAMM-Show Chicago (für Fa. WARWICK), 1997 Doppelplatin für die beiden "Best Of"-Alben, Gold & Platin für "ALLES ROT" und Gold für "Kopf an Kopf"
Mit King Kong Tourneen in Deutschland und Österreich
Mit East Blues Experience Touren in Dänemark, Belgien, Schweiz, Tschechien und Gigs als Begleitband u.a. von Carry Bell (Muddy Waters Band), Big Golden Wheeler, J. Mars ("Jimi Hendrix of the Harp"), diverse Bluesfestivals z.B. Dursland-Bluesfestival (DK), 1997 auf der Frankfurter Musikmesse Vorband von T. M. Stevens (für Fa.WARWICK) und Begleitband von Jerry Donahue.
Mit Driftwood Holly diverse Gigs in Canada
Zur Zeit Musiker bei SILLY, East-Blues-Experince; RAUSCHHARDT, Driftwood Holly
Bassist bei Klaus-Lenz-Big Band; Veronika Fischer & Band; 4PS; PANKOW; Barbara Thalheim; Gitarreros; King Kong; Steve Horn Band; East Blues Experience; SILLY; Ines Paulke Band; Joachim Witt, Mike Kilian Band, JUMP Arena Band, Andrè Herzberg Band, RAUSCHHARDT, Driftwood Holly u.a. (z.B. verschiedene Jazz- und Studioformationen)
Studiomusiker und Basslehrer, seit 1991 Dozent für Bass an der Hochschule für Musik "Carl Maria von Weber" Dresden
Mehrere Album- und Buchveröffentlichungen, Interviews, Artikel, Photos und Workshops (u.a. "Melodie & Rhythmus" (diverse); "The Bass" (Feb.90); "PieÄh" (91); "Bass Professor" (Jan.99); "Tamara Danz" / Ch.Links.Verlag; "Du hast den Farbfilm vergessen und andere Ostrockgeschichten" / Schwarzkopf&Schwarzkopf Verlag; "Veronika Fischer-Diese Sehnsucht nach Wärme" / Verlag Das Neue Berlin); "Die Ärzte" / Schwarzkopf&Schwarzkopf Verlag
Mehrere Basslehrbücher publiziert : "Groove Time" (Breitkopf&Härtel); "ROCKBASS" (AMA); "Die AMA-Bassgitarren-Griff-Tabelle" (AMA); "Mein 1. Bass" (AMA); "ROCKBASS / English Version" (AMA); "I'm Walking-Jazzbass" (AMA); "I'm Walking-Jazzbass / Japanese Version" ( ATN-Inc.); "ROCKBASS" / ChineseVersion (Musechina); "Creating Modern Bassparts" (AMA)
In der ehemaligen DDR vier Mal zum besten Bassisten des Landes gewählt
Tourneen mit verschiedenen Bands (z.B. Klaus-Lenz-Big Band; Veronika Fischer & Band ) durch ganz Osteuropa (UdSSR, Polen, CSSR, Ungarn, Bulgarien, Rumänien)
Mit Silly Tourneen in UdSSR, Dänemark, Österreich; Auftritte auf diversen Festivals in Deutschland, Dänemark (Mitfün; Skanderborg u.a.), Portugal, Österreich und 1990 Gig auf der NAMM-Show Chicago (für Fa. WARWICK), 1997 Doppelplatin für die beiden "Best Of"-Alben, Gold & Platin für "ALLES ROT" und Gold für "Kopf an Kopf"
Mit King Kong Tourneen in Deutschland und Österreich
Mit East Blues Experience Touren in Dänemark, Belgien, Schweiz, Tschechien und Gigs als Begleitband u.a. von Carry Bell (Muddy Waters Band), Big Golden Wheeler, J. Mars ("Jimi Hendrix of the Harp"), diverse Bluesfestivals z.B. Dursland-Bluesfestival (DK), 1997 auf der Frankfurter Musikmesse Vorband von T. M. Stevens (für Fa.WARWICK) und Begleitband von Jerry Donahue.
Mit Driftwood Holly diverse Gigs in Canada
Zur Zeit Musiker bei SILLY, East-Blues-Experince; RAUSCHHARDT, Driftwood Holly
Jäcki Reznicek (Bg,KB) Stand: 17.02.2015
Geb. am 29.11.1953 in Dresden, Eltern Lydia & Günter Reznicek (beide Lehrer),
Geschwiser Bernd Reznicek (geb.1956) und Kerstin Reznicek (geb. 1960).
1960 bis 1970 79.POS Dresden Lockwitz.
1970 bis 1973 Berufsausbildung mit Abitur als Elekromonteur an der BBS Falkenberg/
Elster (Energiekombinat Ost).
In dieser Zeit auch Bassgitarren-Unterricht bei Herrn Werner Stürmer in Dresden und
Klavierunterricht Frau Golf in Dresden.
1973 bis 1976 Studium an der Hochschule für Musik „C.M.v.Weber“ Dresden, Hauptfach
Jazzkontrabass bei Herrn Lothar Spiller.
Seit Oktober 1991 Dozent an der Musikhochschule „C.M.v.Weber“ Dresden JazzRockPop-
Abteilung HF Bassgitarre & Kontrabass, Methodik/Lehrpraxis und Ensemblearbeit.(siehe
auch: www.hfmdd.de)
Erste Band ca. 1967 bis 1972 Stuffer Company, später dann Gruppe Pi
1970 bis ca. 1975 u.a. Bluesband Quambo Laya, Orchester Abraham Blumenstein, Band
F.a.T. (Freude am Ton), Projekt Soul, Dresdner Tanzsinfoniker (Aushilfe für L.Spiller),
Friwi Sternberg Quartet, Manfred Ludwig Septett, Dorit Gäbler Band, diverse Jazzbands
und Barmusikformationen (z.B. K.Endler Trio; Franz Ferry Schwandtner Quartett u.a.).
1976 bis 1977 Klaus Lenz Big Band
1977 Klaus Lenz Modern Soul Big Band
1977 bis 1981 Veronika Fischer & Band
In dieser Zeit auch bei Stefan Diestelmann Band, 4PS und in verschieden
Studiomusikerformationen (u.a. Host Krüger Studioband).
1981 bis 1986 PANKOW
In dieser Zeit auch bei Barbara Thalheim & Band und diverse Studiomusikerformationen.
1986 & 1987 Gitarreos
Ab 1987 bei SILLY
1991 bis 1993 King Køng (Soloprojekt vom „Die Ärzte“-Sänger Farin Urlaub)
1992 Secondband (Barjazz) mnit Siggi Kiesand
1994 bis 2002 East Blues Experience & East Blues & Soul Experince Big Band
1996 bis 1997 PANKOW („Am Rande vom Wahnsinn“-Tour)
Ab 1994 Steve Horn Jazzband
1996 Take It Easy Countryband („N 1“-Tour)
1997 Doppelplatin mit SILLY für beide “Best Of” CDs
1998 PANKOW („Kille, kille Berthold“-Tour)
1999 Ines Paulke Band
1999 Studiobandprojekt „Dark Rose“ (Kirsten Kriester, Bernd Römer/Karat, Ronny Dehn,
Jäcki Reznicek)
1999 Gastmusiker bei den Prinzen
2000 Gruppe Pi (Bandtreffen)
2001 Veronika Fischer Band & Gäste („Jubiläums“-Tour)
Ab 2002 Joachim Witt Band
2002 Bandprojekt 4MORE (Satina Maria Schrader, André Gensicke, Ferry Grott, Jäcki
Reznicek)
2003 Mike Kilian Band („MK Tour“)
2003 und 2004 Jump Arena Radio Show Band
2004 PANKOW („Wieder auf der Straße“-Tour)
2004 André Herzberg Band („Losgelöst“-Tour)
Ab wieder 2005 SILLY
o
2005 SILLY (SILLY & Gäste Tour)
2006 SILLY (SILLY & Gäste Tour)
2006 PANKOW („Nur aus Spaß“-Tour)
2006/2007 SILLY & Anna Loos („Elektroakustik Tour)
2007 SILLY (“Ost Rock Klassik Tour”)
2007 Thomas Natschinski Band („Geburtstags“-Tour)
2008 SILLY („Open Air Sommertour“)
2008 SILLY (“Ost Rock Klassik Tour”)
Von 1990 bis 2008 diverse Jazzbands (z.B. HfM-Dozentenseptett, Steve Horn Band usw.),
Studiomusikerformationen und Workshopbands (u.a. Reznicek-Weise-Workshop-Projekt)
2009 PANKOW Tour
2009 SILLY („Open Air Sommertour“)
2010 Goldene Schallplatte für Ost Rock in Klassik I
2010 SILLY („Alles Rot Tour I & II)
2010 Goldene Schallplatte für „Alles Rot“ SILLY
2010 RAUSCHHARDT („ Free Falling Tour“ I)
2011 SILLY Sommertour
2011 Platin für „Alles Rot“ SILLY
2011 WARWICK „Fuß On The Bus“ II Musik-, Video- & Fotosession in San Francisco/
USA
2011 RAUSCHHARDT („ Free Falling Tour“ II)
2012 diverse SILLY Open Air Konzerte
2012 RAUSCHHARDT („Free Falling Easter Tour“)
2012 Rock Camp Kloster Michaelstein
2012 Dozent beim WARWICK Bass Camp 2012
2012 diverse Workshops und Studiosessions
2013 VÖ SILLY Album „Kopf an Kopf“
2013 SILLY „Kopf an Kopf“ Tour I und II.
2013 Tour mit Driftwood Holly und Pavel Osvald
2014 Rockcamp Kloster Michaelstein
2014 diverse Workshops und Studiosessions
2014 Wintertour (Feb./März)mit Driftwood Holly und Pavel Osvald Yukon Territory/Canada
2014 diverse SILLY Gigs
2014 WARWICK Ladies Bass Camp
2014 Sommertour (August) mit Driftwood Holly und Pavel Osvald Yukon Territory/Canada
2014 WARWICK Bass Camp
2014 Dresdner Drum- and Bassfestival
2014 Auftritt mit SILLY beim Bürgerfest am Brandenburger Tor Berlin am 09.11.
2014 (November) bis Januar 2015 Deutschland Tour mit Driftwood Holly und
Studioproduktion „AURA BOREALIS“ im Castle Studio Schloß Röhrsdorf bei Dresden
2014 Jurymitglied Brandenburger Endausscheid für Local Heros am 28.12.
2015 Rockcamp Kloster Michaelstein/Harz (02.-04.02.)
2015 „Der Tag“-Tour mit East-Blues-Experince
http://www.jackireznicek.com/pdf_swf/Bio%20J%E4cki%20Reznicek_2015.pdfGeb. am 29.11.1953 in Dresden, Eltern Lydia & Günter Reznicek (beide Lehrer),
Geschwiser Bernd Reznicek (geb.1956) und Kerstin Reznicek (geb. 1960).
1960 bis 1970 79.POS Dresden Lockwitz.
1970 bis 1973 Berufsausbildung mit Abitur als Elekromonteur an der BBS Falkenberg/
Elster (Energiekombinat Ost).
In dieser Zeit auch Bassgitarren-Unterricht bei Herrn Werner Stürmer in Dresden und
Klavierunterricht Frau Golf in Dresden.
1973 bis 1976 Studium an der Hochschule für Musik „C.M.v.Weber“ Dresden, Hauptfach
Jazzkontrabass bei Herrn Lothar Spiller.
Seit Oktober 1991 Dozent an der Musikhochschule „C.M.v.Weber“ Dresden JazzRockPop-
Abteilung HF Bassgitarre & Kontrabass, Methodik/Lehrpraxis und Ensemblearbeit.(siehe
auch: www.hfmdd.de)
Erste Band ca. 1967 bis 1972 Stuffer Company, später dann Gruppe Pi
1970 bis ca. 1975 u.a. Bluesband Quambo Laya, Orchester Abraham Blumenstein, Band
F.a.T. (Freude am Ton), Projekt Soul, Dresdner Tanzsinfoniker (Aushilfe für L.Spiller),
Friwi Sternberg Quartet, Manfred Ludwig Septett, Dorit Gäbler Band, diverse Jazzbands
und Barmusikformationen (z.B. K.Endler Trio; Franz Ferry Schwandtner Quartett u.a.).
1976 bis 1977 Klaus Lenz Big Band
1977 Klaus Lenz Modern Soul Big Band
1977 bis 1981 Veronika Fischer & Band
In dieser Zeit auch bei Stefan Diestelmann Band, 4PS und in verschieden
Studiomusikerformationen (u.a. Host Krüger Studioband).
1981 bis 1986 PANKOW
In dieser Zeit auch bei Barbara Thalheim & Band und diverse Studiomusikerformationen.
1986 & 1987 Gitarreos
Ab 1987 bei SILLY
1991 bis 1993 King Køng (Soloprojekt vom „Die Ärzte“-Sänger Farin Urlaub)
1992 Secondband (Barjazz) mnit Siggi Kiesand
1994 bis 2002 East Blues Experience & East Blues & Soul Experince Big Band
1996 bis 1997 PANKOW („Am Rande vom Wahnsinn“-Tour)
Ab 1994 Steve Horn Jazzband
1996 Take It Easy Countryband („N 1“-Tour)
1997 Doppelplatin mit SILLY für beide “Best Of” CDs
1998 PANKOW („Kille, kille Berthold“-Tour)
1999 Ines Paulke Band
1999 Studiobandprojekt „Dark Rose“ (Kirsten Kriester, Bernd Römer/Karat, Ronny Dehn,
Jäcki Reznicek)
1999 Gastmusiker bei den Prinzen
2000 Gruppe Pi (Bandtreffen)
2001 Veronika Fischer Band & Gäste („Jubiläums“-Tour)
Ab 2002 Joachim Witt Band
2002 Bandprojekt 4MORE (Satina Maria Schrader, André Gensicke, Ferry Grott, Jäcki
Reznicek)
2003 Mike Kilian Band („MK Tour“)
2003 und 2004 Jump Arena Radio Show Band
2004 PANKOW („Wieder auf der Straße“-Tour)
2004 André Herzberg Band („Losgelöst“-Tour)
Ab wieder 2005 SILLY
o
2005 SILLY (SILLY & Gäste Tour)
2006 SILLY (SILLY & Gäste Tour)
2006 PANKOW („Nur aus Spaß“-Tour)
2006/2007 SILLY & Anna Loos („Elektroakustik Tour)
2007 SILLY (“Ost Rock Klassik Tour”)
2007 Thomas Natschinski Band („Geburtstags“-Tour)
2008 SILLY („Open Air Sommertour“)
2008 SILLY (“Ost Rock Klassik Tour”)
Von 1990 bis 2008 diverse Jazzbands (z.B. HfM-Dozentenseptett, Steve Horn Band usw.),
Studiomusikerformationen und Workshopbands (u.a. Reznicek-Weise-Workshop-Projekt)
2009 PANKOW Tour
2009 SILLY („Open Air Sommertour“)
2010 Goldene Schallplatte für Ost Rock in Klassik I
2010 SILLY („Alles Rot Tour I & II)
2010 Goldene Schallplatte für „Alles Rot“ SILLY
2010 RAUSCHHARDT („ Free Falling Tour“ I)
2011 SILLY Sommertour
2011 Platin für „Alles Rot“ SILLY
2011 WARWICK „Fuß On The Bus“ II Musik-, Video- & Fotosession in San Francisco/
USA
2011 RAUSCHHARDT („ Free Falling Tour“ II)
2012 diverse SILLY Open Air Konzerte
2012 RAUSCHHARDT („Free Falling Easter Tour“)
2012 Rock Camp Kloster Michaelstein
2012 Dozent beim WARWICK Bass Camp 2012
2012 diverse Workshops und Studiosessions
2013 VÖ SILLY Album „Kopf an Kopf“
2013 SILLY „Kopf an Kopf“ Tour I und II.
2013 Tour mit Driftwood Holly und Pavel Osvald
2014 Rockcamp Kloster Michaelstein
2014 diverse Workshops und Studiosessions
2014 Wintertour (Feb./März)mit Driftwood Holly und Pavel Osvald Yukon Territory/Canada
2014 diverse SILLY Gigs
2014 WARWICK Ladies Bass Camp
2014 Sommertour (August) mit Driftwood Holly und Pavel Osvald Yukon Territory/Canada
2014 WARWICK Bass Camp
2014 Dresdner Drum- and Bassfestival
2014 Auftritt mit SILLY beim Bürgerfest am Brandenburger Tor Berlin am 09.11.
2014 (November) bis Januar 2015 Deutschland Tour mit Driftwood Holly und
Studioproduktion „AURA BOREALIS“ im Castle Studio Schloß Röhrsdorf bei Dresden
2014 Jurymitglied Brandenburger Endausscheid für Local Heros am 28.12.
2015 Rockcamp Kloster Michaelstein/Harz (02.-04.02.)
2015 „Der Tag“-Tour mit East-Blues-Experince
East Blues Experience "Hoochie Coochie Man" Sondershausen 2015
Am 20. November spielten East Blues Experience im Jazzclub in
Sondershausen den Willie Dixon Bluesklassiker "Hoochie Coochie Man" in
der Besetzung Peter Schmidt (guit.), Jäcki Reznicek (bass), Ronny Dehn
(drums) und Adrian Dehn (guit.).
2016 wird es diese Band nicht geben, da alle Bandmitglieder in anderen Bandprojekten touren werden!
2016 wird es diese Band nicht geben, da alle Bandmitglieder in anderen Bandprojekten touren werden!
Martin Lang *29.11.
https://www.facebook.com/martin.lang.5070/photos_albums
Martin Lang combines an assimilation of the sounds of the great Chicago blues harmonica artists such as Junior Wells and Little Walter with a sensibility attuned to contemporary trends in arts and music. He previously participated in an early CD release of Random Chance Records, "Harmonica Blues Orgy," produced by Dave Meyer. His four tracks on the 16 track CD that also featured Little Arthur Duncan, Easy Baby, and Willie "Big Eye" Smith helped make it one of the best selling of the labels releases.
http://www.randomchancerecords.com/martin_lang
Blowin' behind Taildragger for 20 years on July 1.
That's a so-called "bullet" mike I'm blowing with in the Taildragger picture above. It's a really old one too, made in the late '40s. It's an Electro-Voice that Fishman, who used to run the Delta Fish Market on the West Side, gave to me one Saturday afternoon when I showed up to play, with a brand-new amp and no microphone. He called it "that goddam egghead mike," and said that it was once Big Walter's, back in the 1940s. I've used it ever since, which is twenty years, on every recording for Delmark or otherwise, and almost every gig too. (Fishman first wanted to know if the amp was for sale.)
But you can't drop an antique mike (you're gonna drop your mike. Nobody has NEVER dropped the mike.) You can't leave it on top of the amp at a club gig because it's too expensive. Heat and cold can damage it, as can small amounts of moisture. You also have to spend more time on top of your amp, fiddling with the setting, because different settings on the amp using the same 1959 Astatic are going to sound dramatically different (Right?) And if it ain't in your pants pocket on every set break (and we all know what kind of things can happen on set break) you're always wondering where it is, and is it okay. Like a baby or something.
Most of the later generation of older guys I learned from (say, Billy Boy's or Little Arthur's) blew through the house PA, which they learned from the generation of players that came before them, which includes Little Walter. Few of them carried amps. All the clubs' PA systems in the pre-solid state era were tube units like Masco with a "bullet" mike on the stand. Thats what the true oldschool harp players used. The house rig at Theresa's, however, was a (solid-state) Shure VocalMaster, and a member of the 57 family. Some variety of (usually Shure) stick mike sat on the stand in every club in Chicago I have ever played at. When at the Guess Who Lounge one night, in 1994, I asked Little Wolf, the Midnight Ramblers' frontman and sometime harp player, why he didn't carry a mike, he said
"The sound comes from the man, the mike ain't nothin'!"
Why am I saying all this? I'm switching to a stick mike. Durable, for sure, lighter, more reliable, and besides, this is Chicago.
Gibson Custom Shop EDS-1275 Double Neck Electric Guitar Lightly Aged Gold Mist | The Music Zoo
http://www.artisttrove.com/artist/368998956506362/Martin+Lang+Just+Blows+Harmonica,+And+That+Harp+Ain't+No+Notion That's a so-called "bullet" mike I'm blowing with in the Taildragger picture above. It's a really old one too, made in the late '40s. It's an Electro-Voice that Fishman, who used to run the Delta Fish Market on the West Side, gave to me one Saturday afternoon when I showed up to play, with a brand-new amp and no microphone. He called it "that goddam egghead mike," and said that it was once Big Walter's, back in the 1940s. I've used it ever since, which is twenty years, on every recording for Delmark or otherwise, and almost every gig too. (Fishman first wanted to know if the amp was for sale.)
But you can't drop an antique mike (you're gonna drop your mike. Nobody has NEVER dropped the mike.) You can't leave it on top of the amp at a club gig because it's too expensive. Heat and cold can damage it, as can small amounts of moisture. You also have to spend more time on top of your amp, fiddling with the setting, because different settings on the amp using the same 1959 Astatic are going to sound dramatically different (Right?) And if it ain't in your pants pocket on every set break (and we all know what kind of things can happen on set break) you're always wondering where it is, and is it okay. Like a baby or something.
Most of the later generation of older guys I learned from (say, Billy Boy's or Little Arthur's) blew through the house PA, which they learned from the generation of players that came before them, which includes Little Walter. Few of them carried amps. All the clubs' PA systems in the pre-solid state era were tube units like Masco with a "bullet" mike on the stand. Thats what the true oldschool harp players used. The house rig at Theresa's, however, was a (solid-state) Shure VocalMaster, and a member of the 57 family. Some variety of (usually Shure) stick mike sat on the stand in every club in Chicago I have ever played at. When at the Guess Who Lounge one night, in 1994, I asked Little Wolf, the Midnight Ramblers' frontman and sometime harp player, why he didn't carry a mike, he said
"The sound comes from the man, the mike ain't nothin'!"
Why am I saying all this? I'm switching to a stick mike. Durable, for sure, lighter, more reliable, and besides, this is Chicago.
Gibson Custom Shop EDS-1275 Double Neck Electric Guitar Lightly Aged Gold Mist | The Music Zoo
Martin Lang - Slim Harpo cover - Baby Scratch My Back
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