1909 Robert Nighthawk*
1915 Walter "Brownie" McGhee*
1943 Leo Lyons (born David William Lyons)*
1953 Ernie Lancaster*
1953 Shuggie Otis*
1956 Smokin 'Joe Kubek*
1957 Gait Klein Kromhof*
1959 Mike Morgan*
1962 Kelly Richey*
1970 Fabrice Dutour*
1999 Don „Sugarcane“ Harris+
2015 Hans Blues+
Happy Birthday
Leo Lyons (born David William Lyons) *30.11.1943
Leo Lyons und Joe Gooch sind ehemalige Mitglieder der Band legendären Band "Ten Years After". Leo war Gründungsmitglied und spielte in dem Film "Woodstock"-Festival.
Das Duo arbeitete zunächst als Songwriter-Team für TYA zusammen und komponierten und spielten seit dem fortdauernd gemeinsam. 2010 Erschien ihre Debüt-Platte "Die Welt wird nicht aufhören".
Ende 2013 verließen Leo und Joe "Ten Years After" um einen Neuanfang mit "Hundred Seventy Split" zu wagen - Im Februar 2014 feiern sie eine neue CD mit dem Titel "HSS" und gehen auf Tournee.
Leo Lyons ist im November 1943 in Mansfield zur Welt gekommen, mit 16 ist zum Profimusiker geworden und eines der Gründungsmitglieder der Gruppe Ten Years After, d.h. er war Augenzeuge von vielen grundlegenden Momenten der Rockgeschichte!
Heutzutage ist er mit der Formation Hundred Seventy Split unterwegs. Andre nahm während einer Pause im Tourgeschehen die Gelegenheit wahr, mit Leo über seine Musik und Karriere zu sprechen.
David William "Leo" Lyons (born 30 November 1943) is an English musician, who was also the bassist of the blues rock band Ten Years After.[1]
Biography
Lyons was born in Mansfield, Nottinghamshire, England. He first played with lead guitarist Alvin Lee in The Jaybirds. In 1967, there was a name change to Ten Years After. With this group, Lyons played at major rock festivals including Woodstock in 1969 and the Isle of Wight Festival on 29 August 1970. Ten Years After disbanded in 1976, although they later reformed several times in the 1980s and 1990s with all original members.
In 1975, he was hired as a studio manager by Chrysalis Records to re-equip and run Wessex Studios in London. He then produced UFO from 1974 to 1976. Later, he started two commercial recording studios himself.
Lyons moved to Nashville, Tennessee, in the mid-1990s, and was a staff songwriter for Hayes Street Music. He played in a reformed Ten Years After, with new frontman Joe Gooch and also with Gooch in the new blues rock power trio "Hundred Seventy Split". In Lyons' own words, he loves "playing the old songs that people still want to hear. However, that leaves no room for new material - hence the new project."[2] The band are currently mixing their second studio album, called HSS, with the help of Cyclone Music, whom they have used for all their previous projects.
In January 2014, it was announced that both Gooch and Lyons had left Ten Years After.[3]
Born in Mansfield, Nottinghamshire in November 1943, Leo became a professional musician at the age of 16 and as a founder member of the band Ten Years After has been an on-stage eyewitness to some of the most pivotal moments in Rock and Roll history.
In 1962 with his band The Jaybirds along with guitarist Alvin Lee he performed at The Star Club, Hamburg, Germany where only a week earlier The Beatles had polished up their act. Leo was hired to play in the club's house band with Tony Sheridan and yet still found time to guest at the Top Ten Club with guitarist Albert Lee. Like The Beatles, The Jaybirds returned home to England, made the move from their hometown to London and secured their first recording contract with legendary record producer Joe Meek
From 1963 to 1966, as well as playing and managing The Jaybirds, Leo worked as a session musician, toured as a sideman with pop acts of the day, appeared in a play in London's West End and played a residency with poll winning British Jazz Guitarist Denny Wright.
In 1967 with a name change to Ten Years After, a residency at London’s famous Marquee Club and a debut album out on Deram Records, the band were soon to build up a huge following in Europe. Fillmore West and Fillmore East founder Bill Graham heard a copy of the band’s first album and immediately sent a letter offering to book Ten Years After into his historic venues in San Francisco and New York. They were also one of the first rock groups to be part of the Newport Jazz Festival. At Newport and on tour TYA performed with Nina Simone, Roland Kirk, Miles Davis and other jazz legends barnstorming across the US.
In August of the same year their now legendary encore “ I’m Goin’ Home” was captured on film at The Woodstock Music and Arts Festival, exposing their jazz blues rock amalgam to an even larger audience of movie goers who were blown away by the intensity of the band’s performance when the academy award winning documentary was released. Their ten-minute appearance in the film is an acknowledged highlight and established Ten Years After a place in rock history. The band’s albums are still available and all have reached Gold or Platinum status.
Between 1968 and 1975 constant touring playing shows like The Miami Pop Festival, The Isle of Wight Festival, The Toronto Peace Festival and all other important musical events brought the bands music to a global audience. Leo estimates that the band performed to in excess of 75,000 new fans a week. Almost four million people a year not counting those who saw the band in the film ‘Woodstock’.
Leo always had a passion for the recording process and it was a logical step to go into record production. In 1975 Chrysalis Records hired him as studio manager to re-equip and run Wessex Studios in London. He was later to go on and build two commercial studios of his own.
He has produced records for UFO, Magnum, Waysted, Procol Harem, Frankie Miller, Richard and Linda Thompson, Brigitte St John, John Martin, Kevin Coyne, Sassafras, MotorHead, Hatfield and The North, The Bogie Boys, The Winkies, Chris Farlowe, Chevy and many more.
Other projects include stage musicals, cartoon soundtracks, film and music videos. He also released two CDs with his own band Kick and his songs have been used in television and film. He’s also been guest bassist on CDs by Savoy Brown and Leslie West. Leo’s songs came to the attention of Nashville publishers Hayes Street Music who signed him as a staff writer and after several years of commuting from the United Kingdom he made the move to Nashville in 1998.
In 2003 Ten Years After reformed yet again, this time with new guitarist singer Joe Gooch replacing Alvin Lee, and for the past seven years, aside from writing and producing, Leo has recorded three CD’s and toured the world with Ten Years After.
Leo’s not the kind of person who lets the grass grow under his feet and in the Summer of 2010 together with TYA guitarist Joe Gooch he formed ‘Hundred Seventy Split’; a new, exciting, high energy Blues/Rock power trio showcasing their combined talents. The pair initially formed a song-writing partnership to write for TYA and have continued writing together ever since. The result was their debut CD ’The World Won’t Stop’ . . .
Leo and Joe resigned from Ten Years After at the end of 2013 and to celebrate a new beginning Hundred Seventy Split are releasing in February a new CD, simply titled, HSS.
Their live shows have already proved popular with TYA fans. HSS play TYA classics alongside new material in their shows.
‘Hundred Seventy Split’ was formed to play music that rocks outside of the TYA box.
Leo’s interests outside music include the paranormal, alternative medicine, martial arts and all new technology. He is a vegetarian, married with two grown up sons and currently resides in Nashville.
Good morning little Schoolgirl - iNUTERO feat. Leo Lyons
Hundred Seventy Split und Inutero
Robert Nighthawk *30.11.1909
Robert Nighthawk, geboren als Robert Lee McCullum, (* 30. November 1909 in Helena, Arkansas, USA; † 5. November 1967 ebenda) war ein US-amerikanischer Bluesmusiker.
Robert Nighthawk wuchs auf einer Farm auf. Erste Erfahrungen mit der Musik sammelte er, als ihn ein Freund 1923 anregte, Mundharmonika zu lernen. Als er mit seinem Cousin, Houston Stackhouse, in den 1930ern auf einer Farm arbeitete, lernte er Gitarre zu spielen. Robert, sein Cousin und sein Bruder traten auf Festen und Partys gemeinsam als Blues-Band auf.
Einige Zeit später zog Nighthawk nach Memphis (Tennessee), wo er zusammen mit John Lee Hooker im New Daisy Theater und auch zusammen mit der Memphis Jug Band auftrat. Mitte der 1930er zog er weiter nach St. Louis, wo er mit Henry Townsend, dem Star der St. Louis Blues-Szene, zusammen spielte. Er trat dabei unter verschiedenen Namen auf, so z.B. Robert Lee McCoy, Rambling Bob oder Peetie's Boy. Ende der 1930er kam er nach Chicago, um seine erste Solo-Platte aufzunehmen; Prowling Night-Hawk sollte zu einem seiner bestverkauften Songs werden. Nach diesem Song nannte er sich endgültig Robert Nighthawk. Anfang der 1950er Jahre nahm er auch für das Label United auf. Das Album "Live on Maxwell Street" wurde 1989 in die Blues Hall of Fame aufgenommen.
Ein Sohn Nighthawks war der Schlagzeuger Sam Carr (1926–2009), der u. a. mit Frank Frost spielte und aufnahm.
Robert Lee McCollum (November 30, 1909 – November 5, 1967)[1] was an American blues musician, who played and recorded under the pseudonyms Robert Lee McCoy and Robert Nighthawk. He is the father of blues musician Sam Carr.
Life and career
Born in Helena, Arkansas, he left home at an early age to become a busking musician, and after a period wandering through southern Mississippi, settled for a time in Memphis, Tennessee, where he played with local orchestras and musicians, such as the Memphis Jug Band. A particular influence during this period was Houston Stackhouse, from whom he learned to play slide guitar, and with whom he appeared on the radio in Jackson, Mississippi.
After further travels through Mississippi, he found it advisable to take his mother's name, and as Robert Lee McCoy moved to St. Louis, Missouri, in the mid-1930s.[2] Local musicians with whom he played included Henry Townsend, Big Joe Williams, and Sonny Boy Williamson. This led to two recording dates in 1937, the four musicians recording together at the Victor Records studio in Aurora, Illinois, as well as recordings under his own name, including "Prowling Night-Hawk" (recorded 5 May 1937), from which he was to take his later pseudonym. These sessions led to Chicago blues careers for the other musicians, though not, however, for McCoy, who continued his rambling life, playing and recording (for Victor/Bluebird and Decca) solo and with various musicians, under various names. Kansas City Red was his drummer from the early 1940s to around 1946.[3] He recorded Kansas City Red’s song, “The Moon is Rising”.[4]
McCoy became a familiar voice on local radio stations; then Robert Lee McCoy disappeared.Within a few years, he resurfaced as the electric slide guitarist Robert Nighthawk, and began recording for Aristocrat and Chess Records, the latter of which was also Muddy Waters' label; in 1949 and 1950, the two men's styles were close enough that they were in competition for promotional activity; as Waters was the more marketable commodity, being more reliable and a more confident stage communicator, he received the attention. Though Nighthawk continued to perform and to record, taking up with United and States 1951 and 1952, he failed to achieve great commercial success.
In 1963, Nighthawk was rediscovered busking in Chicago and this led to further recording sessions and club dates, and to his return to Arkansas, where he appeared on the King Biscuit Time radio programme on KFFA. Nighthawk continued giving live performances on Chicago's Maxwell Street until 1964.[2] He had a stroke followed by a heart attack, and died of heart failure[1] at his home in Helena. He is buried in Magnolia Cemetery in Helena.
Historic marker
Nighthawk was honored by the Mississippi Blues Commission places a historic marker in Friars Point, Mississippi, marking his position on the Mississippi Blues Trail. Governor Haley Barbour stated the following:
This talented Mississippian made a huge contribution to development of that unique genre of music, the Mississippi blues. I am pleased Nighthawk’s imprint on the blues scene, which is still heard through the tunes of modern-day blues artists, will be recognized with his inclusion on the Mississippi Blues Trail.[5]
The marker was placed at Friars Point, as Nighthawk called this town his home at various times during his itinerant career. He recorded a song called "Friars Point Blues" in 1940.
Bluesmaster Robert Nighthawk Rockin the Folks on Maxwell St Chicago 1960s (For Educational Purposes Exclusively)
https://www.youtube.com/watch?v=Sh--OUE6uNM
https://www.youtube.com/watch?v=Sh--OUE6uNM
Smokin 'Joe Kubek *30.11.1956
Smokin’ Joe Kubek ist am 11. Oktober an den Folgen eines Herzinfarkts im Alter von nur 58 Jahren verstorben. Der Gitarrist war mit seinem musikalischen Partner Bnois King (Gesang, Gitarre) auf Tournee und sollte am vergangenen Wochenende beim Pleasure Island Seafood & Blues Festival in North Carolina auftreten. Joe Kubek wurde in Pennsylvania geboren, wuchs aber in Dallas, Texas, auf. Auf den aus Louisiana stammenden Bnois King traf er 1989, was zu einer über 25 Jahre andauernden Freundschaft und musikalischen Partnerschaft führen sollte. Smokin’ Joe Kubek und Bnois King standen für rauen, rockigen und leidenschaftlichen Texas-Blues, mit dem sie sowohl live als auch auf Platte überzeugen konnten. Das 1991 auf Bullseye/Rounder erschienene Album „Stepping Out Texas Style“ wird meist als Plattendebüt bezeichnet, zuvor kam allerdings „The Axe Man“ auf Double Trouble heraus. Nach sieben Alben für Rounder – anfangs noch als The Smokin’ Joe Kubek Band featuring Bnois King – erfolgte 2003 der Wechsel zu Blind Pig. Von 2008 bis 2010 standen Smokin’ Joe Kubek & Bnois King bei Alligator unter Vertrag, es folgte eine kurze Episode mit zwei Alben für Delta Groove (2012 bis 2013), bevor die beiden 2015 mit „Fat Man’s Shine Parlor“ zu Blind Pig zurückkehrten.
Smokin' Joe Kubek (November 30, 1956 – October 11, 2015) was an American Texas blues electric guitarist, songwriter and performer.[1]
Biography
Born in Grove City, Pennsylvania, Kubek grew up in the Dallas, Texas area.[2] In the 1970s during his teen years, he played with the likes of Freddie King and in the 1980s began performing with Louisiana-born musician and vocalist, Bnois King.[3]
In 1985, Kubek released his first record on Bird Records, a 45 RPM single with the tracks "Driving Sideways" (written by Freddie King and Sonny Thompson) and "Other Side Of Love" (written by Doyle Bramhall Sr.). The single's executive producers were Clint Birdwell and Charley Wirz. The two tracks reappeared on Kubek's 2012 album, Let That Right Hand Go, produced by Birdwell and issued on Birdwell's label, Bird Records Texas. The album is a collection of mostly unreleased material recorded since the 1980s (with the 1985 single's track, "Other Side Of Love", entitled "The Other Side Of Love").
In 1991, Kubek released his first full-length album, entitled Steppin' Out Texas Style (Bullseye Blues Records), and later released over a dozen albums on various labels.
Walter "Brownie" McGhee *30.11.1915
Walter "Brownie" McGhee (* 30. November 1915 in Knoxville, Tennessee; † 16. Februar 1996 in Oakland, Kalifornien) war Blues-Gitarrist. Er wuchs in einer musikalischen Familie auf, in der er Gitarre und Klavier spielen lernte. Zunächst begann er als Gospelsänger in einem Quartett und als Straßensänger beim Smoky Mountain Resort.
Durch Kinderlähmung war sein rechtes Bein verkürzt, was ihn in seiner Gehfähigkeit behinderte, was aber später durch eine Operation verbessert werden konnte, sodass er auch auf Konzertreisen gehen konnte, zunächst in Tennessee und North Carolina. Nach dem Tod von Blind Boy Fuller sah dessen Manager J.B. Long in McGhee den geeigneten Lückenfüller. Sie produzierten erfolgreiche Schallplattenaufnahmen, eine davon mit dem Titel The Death of Blind Boy Fuller, was ihm den Titel Blind Boy Fuller No. 2 eintrug. Bei einem Konzert mit Paul Robeson 1942 in Washington, D.C. mit Gastsolist Sonny Terry veranlasste Long, dass Terry von McGhee begleitet wurde. Die beiden kamen gut an und arbeiteten fortan oft zusammen. 1942 zog McGhee nach New York, wo er Kontakt mit berühmten Folk-Musikern wie Woody Guthrie, Pete Seeger u.a. hatte und 1948 eine Schule „The Home of Blues“ als Gitarrenlehrer gründete. Er spielte 1959 und 1963 auf dem Newport Folk Festival und machte mit Sonny Terry Tourneen, u.a. durch Indien und Europa. Terry beteiligte ihn auch 1963 an seiner Produktion Sonny Is King.
Außer im Blues hatte McGhee auch mit Rhythm'n Blues-Aufnahmen Erfolg (u.a. mit Champion Jack Dupree, Big Maybelle und seinem jüngeren Bruder Stick McGhee auf dessen Hit Drinkin' Wine Spo-Dee-O-Dee). Ferner hatte er zwei Broadwayshow-Rollen wie z.B. in Die Katze auf dem heißen Blechdach (1955) mit Terry sowie eine Nebenrolle auf der Leinwand im Thriller Angel Heart (1987).
Sein Bluesstil war von der Ostküste, der sogenannte Piedmont Blues.
Walter Brown ("Brownie") McGhee (November 30, 1915 – February 16, 1996)[1] was a Piedmont blues singer and guitarist, best known for his collaborations with the harmonica player Sonny Terry.[2]
Life and career
Brownie McGhee was born in Knoxville, Tennessee, and grew up in Kingsport, Tennessee.[3] As a child he had polio, which incapacitated his leg. His brother Granville "Sticks" or "Stick" McGhee was nicknamed for pushing young Brownie around in a cart. His father, George McGhee, was a factory worker known around University Avenue for playing guitar and singing. Brownie's uncle made him a guitar from a tin marshmallow box and a piece of board.[4] McGhee spent much of his youth immersed in music, singing with local harmony group the Golden Voices Gospel Quartet and teaching himself to play guitar. A March of Dimes-funded leg operation enabled McGhee to walk.
At age 22, Brownie McGhee became a traveling musician, working in the Rabbit Foot Minstrels and befriending Blind Boy Fuller, whose guitar playing influenced him greatly. After Fuller's death in 1941, J. B. Long of Columbia Records had McGhee adopt his mentor's name, branding him "Blind Boy Fuller No. 2." By that time, McGhee was recording for Columbia's subsidiary Okeh Records in Chicago, but his real success came after he moved to New York in 1942, when he teamed up with Sonny Terry, whom he had known since 1939 when Sonny was Blind Boy Fuller's harmonica player. The pairing was an overnight success; as well as recording, they toured together until around 1980. As a duo, Sonny Terry and Brownie McGhee did most of their work from 1958 until 1980, spending 11 months of each year touring, and recording dozens of albums.
Despite their later fame as "pure" folk artists playing for white audiences, in the 1940s Terry and McGhee also attempted to be successful black recording performers, fronting a jump blues combo with honking saxophone and rolling piano, variously calling themselves "Brownie McGhee and his Jook House Rockers" or "Sonny Terry and his Buckshot Five," often with Champion Jack Dupree and Big Chief Ellis. They also appeared in the original Broadway productions of Finian's Rainbow and Cat on a Hot Tin Roof.
During the blues revival of the 1960s, Terry and McGhee were very popular on the concert and music festival circuits, occasionally adding new material but usually remaining faithful to their roots and their audience.
Late in his life, McGhee began appearing in small film or TV roles. With Sonny Terry, he appeared in the 1979 Steve Martin comedy The Jerk. In 1987, McGhee gave a small but memorable performance as ill-fated blues singer Toots Sweet in the supernatural thriller movie, Angel Heart. In his review of Angel Heart, critic Roger Ebert singled out McGhee for praise, declaring that he delivered a "performance that proves [saxophonist] Dexter Gordon isn't the only old musician who can act."[5] McGhee appeared in a 1988 episode of "Family Ties" titled "The Blues, Brother" in which he played fictional blues musician Eddie Dupre, as well as a 1989 episode of Matlock entitled "The Blues Singer."
Happy Traum, a former guitar student of Brownie's, edited a blues guitar instruction guide and songbook for him. Using a tape recorder, Traum had McGhee instruct and, between lessons, talk about his life and the blues. Guitar Styles of Brownie McGhee was published in New York in 1971. The autobiographical section features Brownie talking about growing up, his musical beginnings, and a history of the early blues period (1930s onward).
One of McGhee's final concert appearances was at the 1995 Chicago Blues Festival.[3]
McGhee died from stomach cancer in February 1996 in Oakland, California, at age 80; he missed his planned return trip to Australia.
Ernie Lancaster (November 30, 1953 – July 17, 2014)[2] was an American electric blues and blues rock guitarist and songwriter. He released two solo albums. Lancaster had the ability to vary his style between strict blues, and rock, jazz, soul and pop.[1]
He cited his influences as Roy Buchanan, Stevie Ray Vaughan and John Lee Hooker.[3]
Ernest Ray Lancaster was born in Georgia, United States. He later grew up in South Carolina before relocating with his family to Mount Dora, Florida. He formed his own band while at school, which eventually played at Stetson University and on television in Orlando. After dropping out of college, and getting married at age 19,[4] he was a founding member of the Sex Change Band in the mid-1970s.[3] As the backing outfit for Root Boy Slim,[1] the band was a fixture in the mid-Atlantic blues and rock scene, and favored a mix of Memphis-style boogie rock/blues.[5] They recorded an album for Warner Bros. Records in 1978, their first of six records.[4] In 1989, Lancaster played on the Pee Wee, Fred and Maceo album recorded by the JB Horns.[6]
Lancaster's guitar work appeared on numerous albums in the 1980s and 1990s, before he released his debut solo album. That was Ernestly, an all instrumental affair, which was released on Ichiban Records in 1991.[1] Other musicians Lancaster supplied guitar playing for included Rufus Thomas,[7] Reverend Billy C. Wirtz, Kenny Neal, Noble Watts and Lucky Peterson. The latter musician was heavily involved in playing the Hammond organ on Lancaster's first album, with a co-starring credit noted on the album's sleeve.[1] The Allmusic journalist, Alex Henderson, noted that "Although not stunning, Ernestly provides some gritty and unpretentious fun."[7]
In 1993, Lancaster played guitar in James Brown's backing band, during their European tour.[2]
Lancaster's second album, Lightnin' Alley, which comprised self composed tracks (in a similar vein to his first album) was issued in May 2008.[1] He also appeared at the Boundary Waters Blues Festival.
Lancaster died from pancreatic cancer, at his home in Mount Dora, Florida in July 2014, aged 60.[2]
Mike Morgan *30.11.1959
Mike Morgan (* 30. November 1959, Dallas, Texas) ist ein amerikanischer Gitarrist, Mundharmonikaspieler, Sänger und Songwriter.
Mike Morgan wurde in Dallas geboren, wuchs aber in Hillsboro, Texas, auf. Die erste Gitarre bekam er in der Grundschule. Seine erste musikalische Inspiration war die Musik von Otis Redding und Wilson Pickett, aber er spielte trotzdem Rockmusik.[1]. Seine Entscheidung Blues zu spielen ist auf das Hören des Albums "Texas Flood" von Stevie Ray Vaughan zurückzuführen. Neben ihm gab er auch noch T-Bone Walker, Magic Sam und Anson Funderburgh an.[2] 1986 ging er nach Dallas zurück, wo er mit Darrell Nulisch zusammen die Band "The Crawl" gründete. Die Gruppe wurde nach einem Song von Lonnie Brooks benannt.
Mike Morgan and The Crawl bauten sich einen guten Ruf in der texanischen Bluesszene auf. 1989 verließ Nulisch die Band und wurde durch den Sänger und Mundharmonikaspieler Lee McBee ersetzt. Nach dem Debütalbum "Raw & Ready" gingen sie auf nationale und internationale Tourneen. 2000 verließ McBee die Band, die Sängerrolle übernahm Mike Morgan selbst.
Ab 2006 schränkte Mike Morgan, der inzwischen als Vertriebsleiter bei einem Motorradhändler arbeitet, seine Tourneetätigkeit stark ein. Nachdem er nur gelegentliche Auftritte, meist mit Kevin Schermerhorn (Schlagzeug) und Drew Allain (Bass), gespielt hatte, kündigte Morgan für Mai 2010 eine Europatournee mit Stationen überwiegend in Deutschland an - zusammen mit The Crawl und Lee McBee.
http://de.wikipedia.org/wiki/Mike_Morgan_%28Musiker%29
Mike Morgan (born November 30, 1959, Dallas, Texas) is an American Texas and electric blues musician.[1] He has released thirteen albums to date, on various record labels including Rounder, Black Top and Severn Records. The majority of his releases have featured his long standing backing band, The Crawl. Morgan has played alongside Darrell Nulisch, Lee McBee, Gary Primich, and Randy McAllister.
Biography
Morgan was born in Dallas, but grew up in Hillsboro, Texas.[2] He received his first guitar at an early age, and initially concentrated on playing rock music. In 1985 he converted to blues and blues-rock, before relocating back to Dallas in 1986. There he met Darrell Nulisch, who both were founding members of The Crawl. The group was named for a Lonnie Brooks song.[1]
Mike Morgan and the Crawl earned a reputation playing around Dallas and the Fort Worth area, before Nulisch left them in 1989, to be replaced by the singer and harmonica player, Lee McBee.[2] Following a performance at the New Orleans Jazz & Heritage Festival, their debut 1990 album, Raw & Ready, saw them undertake national and international tours. Further albums including Full Moon Over Dallas, and Ain't Worried No More ensued, before Morgan recorded without his backing group on Let The Dogs Run (1994) with Jim Suhler.[1] In 1994 Mike Morgan and the Crawl appeared on the bill at the Notodden Blues Festival. Later group releases included their Black Top swansong, I Like the Way You Work It, but at the end of the 1990s McBee left the band.[2] Buoyed by the experience of playing behind Nulisch, Keith Dunn, and Chris Whynaught, 2000's Texas Man saw Morgan's vocalist debut. Live in Dallas (2004) followed before Morgan's latest effort, Stronger Every Day, released in March 2008, included further accompaniment from McBee and Randy McAllister.[1]
Recent activity has seen a reduction in touring, and Morgan working as a sales manager in a Mesquite, Texas, motorcycle dealership.
Biography
Morgan was born in Dallas, but grew up in Hillsboro, Texas.[2] He received his first guitar at an early age, and initially concentrated on playing rock music. In 1985 he converted to blues and blues-rock, before relocating back to Dallas in 1986. There he met Darrell Nulisch, who both were founding members of The Crawl. The group was named for a Lonnie Brooks song.[1]
Mike Morgan and the Crawl earned a reputation playing around Dallas and the Fort Worth area, before Nulisch left them in 1989, to be replaced by the singer and harmonica player, Lee McBee.[2] Following a performance at the New Orleans Jazz & Heritage Festival, their debut 1990 album, Raw & Ready, saw them undertake national and international tours. Further albums including Full Moon Over Dallas, and Ain't Worried No More ensued, before Morgan recorded without his backing group on Let The Dogs Run (1994) with Jim Suhler.[1] In 1994 Mike Morgan and the Crawl appeared on the bill at the Notodden Blues Festival. Later group releases included their Black Top swansong, I Like the Way You Work It, but at the end of the 1990s McBee left the band.[2] Buoyed by the experience of playing behind Nulisch, Keith Dunn, and Chris Whynaught, 2000's Texas Man saw Morgan's vocalist debut. Live in Dallas (2004) followed before Morgan's latest effort, Stronger Every Day, released in March 2008, included further accompaniment from McBee and Randy McAllister.[1]
Recent activity has seen a reduction in touring, and Morgan working as a sales manager in a Mesquite, Texas, motorcycle dealership.
Kelly Richey was born and raised in Lexington, Kentucky, United States,[3] in a conservative Christian household that avoided rock music. Her first instrument was the piano.[4] Her second instrument was a drum kit that her neighbor let her take home. After a couple of months of playing drums in her bedroom, her father offered to buy her anything she wanted; she chose the guitar. She started learning guitar at age 15; she reached a point where she was practicing 12 hours a day.[5][6]
Career
Kelly Richey joined the Arista Records group Stealin' Horses in 1986. In 1990, she formed The Kelly Richey Band (KRB). In 1997 she moved from Lexington to Mount Auburn, Cincinnati.[7] Writing of her 2001 album Sending Me Angels, Guitar Player praised her "fiery solos" and her "fast, powerful picking hand", which she credited to having played as a drummer.[8] She cites Roy Buchanan as an influence,[8] besides Stevie Ray Vaughan and Jimi Hendrix.[1] She released eleven albums between 1994 and 2008.[5] Her 2006 album Speechless consisted entirely of instrumentals.[9]
Equipment
Richey plays a Fender Stratocaster, the same she has played since the 1980s. It has a 1963 body and a 1965 neck, with a traditional Fender tremolo; the pickups are Seymour Duncan and she uses SIT strings (.10-.046). She plays through a Fender Super Reverb with an Ibanez Tube Screamer.
Kelly Richey is one of the hardest working independent musicians out there; to date logging an extraordinary 900,000 miles touring, and at one point in her 28-year professional career, gigging a grueling 275 days out of the year. Richey has toured in the USA, Canada, Europe, and Australia. Born in Lexington, Kentucky but now based in Cincinnati, Richey started playing guitar at the age of 15. Today, a staggering 3,900 gigs later, she more than earns the title of master guitarist and singer/songwriter. She has been described as “Stevie Ray Vaughan trapped in a woman’s body with Janis Joplin screaming to get out”. She has been listed as among the top 100 gifted guitarists by the Truefire Community in 2011, and frequently draws comparisons to blues guitar icons Jimi Hendrix and Stevie Ray Vaughan. Richey has shared the stage with such legends as Lonnie Mack and Albert King, and has opened for Joe Cocker, Lita Ford, Johnny Winter, Edgar Winter, Walter Trout, Little Feat, Foghat, REO Speedwagon, George Thorogood, Average White Band, Robben Ford, Warren Zevon, and James Brown. Richey has fronted her blues/rock power trio, The Kelly Richey Band since the early 1990’s, and she also performs an intense, dazzling solo show incorporating electric and acoustic guitar, looping, beats, electronic sound synthesis, and some of her more personal acoustic material.
Richey has been teaching guitar almost as long as she’s been playing; with over three decades of teaching experience under her belt, she is a deeply dedicated and inspirational guitar instructor who has taught well over 1,000 students to date. Richey teaches both privately and through the online teaching course with TrueFire. Richey has put out a number of instructional videos and teaches several guitar workshops around the country. Richey has a rock solid understanding of blues guitar techniques, which she passionately passes on to her students. She’s a warm, outgoing and dynamic guitar instructor with a unique teaching style who relates exceptionally well to her students no matter what their skill level or background may be. Her goal is to provide expert instruction tailored to meet each student’s individual needs, so that he or she can excel to full potential.
Richey has been teaching guitar almost as long as she’s been playing; with over three decades of teaching experience under her belt, she is a deeply dedicated and inspirational guitar instructor who has taught well over 1,000 students to date. Richey teaches both privately and through the online teaching course with TrueFire. Richey has put out a number of instructional videos and teaches several guitar workshops around the country. Richey has a rock solid understanding of blues guitar techniques, which she passionately passes on to her students. She’s a warm, outgoing and dynamic guitar instructor with a unique teaching style who relates exceptionally well to her students no matter what their skill level or background may be. Her goal is to provide expert instruction tailored to meet each student’s individual needs, so that he or she can excel to full potential.
R.I.P.
Don „Sugarcane“ Harris +30.11.1999
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Don „Sugarcane“ Francis Bowman Harris[1] (* 19. Juni 1938 in Pasadena, Kalifornien; † 30. November 1999 in Los Angeles) war ein US-amerikanischer Violinist und Gitarrist. Als Violinist nahm er Anfang der 1970er Jahre im Fusionjazz eine führende Stellung ein, spielte aber auch Jazz, Blues und Rock.
Harris war kreolisch-indianisch-afroamerikanischer Abstammung und wuchs in Pasadena auf. Er erhielt klassischen Geigenunterricht. In den 1950er Jahren spielte er als Gitarrist mit seinem Jugendfreund Dewey Terry in der Gruppe „The Squires“, die verschiedene Singles veröffentlichte. Von 1957 bis etwa 1967 bildeten er und Terry das Duo „Don and Dewey“, das auf dem Label Specialty Records einige Singles herausbrachte, die 1974 zu einem Album zusammengestellt wurden. Harris und Terry waren Ko-Autoren der frühen Rock-and-Roll-Klassiker „Justine“, „Farmer John“, „Leaving It All Up to You“ und „Big Boy Pete“. Diese Stücke wurden mit anderen Interpreten wie den Righteous Brothers zu Hits. Als der Erfolg für Don and Dewey ausblieb, trennte sich das Duo.
Harris wandte sich danach der elektrisch verstärkten Violine zu. Ab Ende der 1960er Jahre war er als Gastmusiker bei John Mayall and the Bluesbreakers, Little Richard, John Lee Hooker und Johnny Otis zu hören. Für Frank Zappa und The Mothers of Invention wirkte er an den Aufnahmen zu den Alben Hot Rats, Burnt Weeny Sandwich, Weasels Ripped My Flesh, Chunga’s Revenge, Apostrophe (’) und The Lost Episodes mit.[2] Harris gehörte außerdem zwei Besetzungen der zappaschen Hot-Rats-Liveband an.[3] Zappa hielt die Don-and-Dewey-Single „Soul Motion“ für eine der besten Rhythm-and-Blues-Platten aller Zeiten.[4]
Mit dem Schlagzeuger Paul Lagos und den Gitarristen Harvey Mandel und Randy Resnick spielte er Anfang der 1970er Jahre in der Gruppe „Pure Food and Drug Act“ zusammen, die 1972 das Album Choice Cuts herausbrachte.[5]
1971 wurde Harris von Joachim-Ernst Berendt zum „New Violin Summit“ eingeladen, das am 7. November während der Berliner Jazztage stattfand; an diesem Geiger-Gipfeltreffen, dessen Aufnahmen größtenteils von dem Plattenlabel MPS als gleichnamiges Album veröffentlicht wurden,[6] nahmen auch Jean-Luc Ponty, Michal Urbaniak und der Sinto Nipso Brandner teil. Harris' vorhergehender Jazztage-Auftritt am 5. November mit der Sugar Cane Harris Group unter Beteiligung von Volker Kriegel und Wolfgang Dauner wurde ebenfalls von MPS unter dem Titel Sugar Cane's Got the Blues[7] veröffentlicht. Die darauf zu findende eindringliche Version von Horace Silvers „Song for My Father“ stammt allerdings aus dem Mitschnitt des Summit-Auftritts. Bei der mit Berendt zusammenarbeitenden Plattenfirma MPS entstanden in den Folgejahren einige Platten von unterschiedlicher Qualität, unter denen das Album Fiddler on the Rock positiv auffällt.
Danach wurde es eine Zeit lang still um Harris. Erst in den späten 1970er-Jahren ging er als Mitglied der John-Mayall-Band erneut auf Tournee. Aufgrund seines Drogenmissbrauchs hatte er zunehmend psychische Probleme. Anfang der 1980er Jahre war er in Los Angeles für kurze Zeit Mitglied der experimentellen Rockband „Tupelo Chain Sex“, anschließend ging er noch einmal mit Don & Dewey auf Tournee.
Der seit längerem lungenkranke Musiker wurde am 1. Dezember 1999 in seiner Wohnung im Süden von Los Angeles tot aufgefunden.
Don Francis Bowman Harris (June 18, 1938[1] – November 27, 1999), known as Don "Sugarcane" Harris, was an American rock and roll violinist and guitarist.
Biography
Harris was born and raised in Pasadena, California, and started an act called Don and Dewey with his childhood friend Dewey Terry in the mid 1950s. Although they were recorded by Art Rupe on his Specialty label, mostly utilizing the services of legendary drummer Earl Palmer, Don and Dewey didn't have any hits. However, Harris and Terry co-authored such early rock and roll classics as "Farmer John", "Justine", "I'm Leaving It Up to You", and "Big Boy Pete," all of which became hits for other artists.
Harris was given the nickname "Sugarcane" by bandleader Johnny Otis and it was to remain with him throughout his life.
After separating from Dewey Terry in the 1960s, Harris moved almost exclusively over to the electric violin. He was to reappear as a sideman with John Mayall & the Bluesbreakers and Frank Zappa, most recognized for his appearances on Hot Rats, and on the Mothers of Invention albums Burnt Weeny Sandwich and Weasels Ripped My Flesh. His lead vocal and blues violin solo on a cover of Little Richard's "Directly From My Heart to You" on Weasels, and his extended solo on the lengthy "Little House I Used To Live In" on Weeny are considered highlights of those albums. Reportedly, he was rescued from a jail term by Zappa. Zappa had long admired Harris's playing and bailed him out of prison, resurrecting his career and ushering in a long period of creativity for the forgotten violin virtuoso. He played a couple of live concerts with Zappa's band in 1969.
During the early 1970s, Sugarcane fronted the Pure Food and Drug Act which included drummer Paul Lagos, guitarists Harvey Mandel and Randy Resnick, and bassist Victor Conte, who was the founder of the Bay Area Laboratory Co-operative (BALCO). Conte replaced Larry Taylor who was the original bass player. His first solo album (with back cover art by underground poster artist Rick Griffin) is a forgotten masterpiece of blues, jazz, classical and funk compositions, and his 1973 live album Sugarcane's Got The Blues, recorded at the Berlin Jazz Festival show an accomplished musician at the top of his game.[citation needed]
In the 1980s, Sugarcane was a member of the Los Angeles-based experimental rock band Tupelo Chain Sex.
Harris died on November 27, 1999 in Los Angeles, California.
Blues for the Moon DON ''SUGARCANE'' HARRIS
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