1909 Blind Roosevelt Graves*
1934 Junior Wells (Amos Blackmore)*
Cary Morin*
Happy Birthday
Blind Roosevelt Graves *09.12.1909
Blind Roosevelt Graves (* 9. Dezember 1909 in Rose Hill, nahe Meridian, Mississippi; † 30. Dezember 1962 in Gulfport) war ein früher US-amerikanischer Gospel- und Blues-Gitarrist und -Sänger, der mit seinem ebenfalls nahezu blinden Bruder Uaroy Graves (Tamburin und Kazoo) als Duo auftrat. Über das Leben der Graves-Brüder ist wenig bekannt.
1929 machten die beiden, entdeckt von H.C. Speir, ihre ersten Aufnahmen für Paramount Records. Sie waren die ersten, die den Guitar Boogie aufzeichneten, und ihr I'll Be Rested gilt als Paradebeispiel der Gospelmusik ihrer Zeit.
1936 nahmen die Brüder zusammen mit dem Klavierspieler Cooney Vaughn zwei Songs auf, die laut Rolling Stone Illustrated History of Rock and Roll „vollständig ausgebildete Rock'n'Roll-Gitarrenriffs und einen stampfenden Rock'n'Roll-Beat“ aufwiesen: Barbecue Bust und Dangerous Woman. Die Aufnahmen unter dem Namen „Mississippi Jook Band“ entstanden im Bahnhof von Hattiesburg, Mississippi.
Einige Stücke der beiden Brüder wurden unter dem Namen „Blind Roosevelt Graves and Brother“ veröffentlicht. Es bestanden Zweifel, ob „Uaroy“ der richtige Name von Roosevelts Bruder war. Stellenweise wurde stattdessen der Name „Aaron“ verwendet, da man annahm, der Name sei falsch oder in schlecht lesbarer Schrift aufgeschrieben worden. Erst 2004, als Fotos der Originaldokumente von Paramount ins Internet gestellt wurden, wurde „Uaroy Graves“ zweifelsfrei als der korrekte Name bestätigt.
Roosevelt Graves (December 9, 1909, Meridian, Mississippi – December 30, 1962, Gulfport, Mississippi)[1] was an American blues guitarist and singer, who recorded both sacred and secular music in the 1920s and 1930s.[1]
On all his recordings, he played with his brother Uaroy Graves, who was also nearly blind and played the tambourine. They were credited as "Blind Roosevelt Graves and Brother". Their first recordings were made in 1929 for Paramount Records. Theirs is the earliest version recorded of "Guitar Boogie", and they exemplified the best in gospel singing with "I'll Be Rested". Blues researcher Gayle Dean Wardlow has suggested that their 1929 recording "Crazy About My Baby" "could be considered the first rock 'n' roll recording."[2]
In July 1936, they were located by the talent broker H. C. Speir, who arranged for them to record in Hattiesburg, Mississippi, according to some sources at the train station, although Speir later told Wardlow that the recordings took place in a temporary studio, in the Hotel Hattiesburg, at Mobile Street and Pine Street. For the session they were joined by the local piano player Cooney Vaughn,[1] who performed weekly on radio station WCOC in Meridian prior to World War II. The trio were billed on record as the Mississippi Jook Band.[1] In all, they recorded four tracks at Hattiesburg for the American Record Company[1] - "Barbecue Bust", "Hittin' The Bottle Stomp", "Dangerous Woman" and "Skippy Whippy". According to the Rolling Stone Illustrated History of Rock and Roll, these "...featured fully formed rock & roll guitar riffs and a stomping rock & roll beat".
The Graves Brothers did not record again.[1] After the war, Roosevelt Graves is thought to have moved to Gulfport, Mississippi.
For a number of years, the subject of Uaroy's identity was disputed. In several books, magazine articles, and album liner notes that mentioned the Graves brothers, the names "Aaron" or "Leroy" were substituted for Uaroy, on the assumption that the otherwise unknown name Uaroy must have arisen due to the poor penmanship of a recording company employee whose handwritten notes were misinterpreted. This controversy was put to rest in 2004, when photographic copies of the Paramount files were posted to the internet, and it could clearly be seen that the person who wrote up the recording session notes had written in a careful, almost printed hand, "Uaroy Graves."[citation needed]
In October 2008, the recordings by the Graves brothers and the Mississippi Jook Band, and others who recorded in Hattiesburg, were commemorated by a marker on the Mississippi Blues Trail, established to preserve the state's musical heritage.[3]
On all his recordings, he played with his brother Uaroy Graves, who was also nearly blind and played the tambourine. They were credited as "Blind Roosevelt Graves and Brother". Their first recordings were made in 1929 for Paramount Records. Theirs is the earliest version recorded of "Guitar Boogie", and they exemplified the best in gospel singing with "I'll Be Rested". Blues researcher Gayle Dean Wardlow has suggested that their 1929 recording "Crazy About My Baby" "could be considered the first rock 'n' roll recording."[2]
In July 1936, they were located by the talent broker H. C. Speir, who arranged for them to record in Hattiesburg, Mississippi, according to some sources at the train station, although Speir later told Wardlow that the recordings took place in a temporary studio, in the Hotel Hattiesburg, at Mobile Street and Pine Street. For the session they were joined by the local piano player Cooney Vaughn,[1] who performed weekly on radio station WCOC in Meridian prior to World War II. The trio were billed on record as the Mississippi Jook Band.[1] In all, they recorded four tracks at Hattiesburg for the American Record Company[1] - "Barbecue Bust", "Hittin' The Bottle Stomp", "Dangerous Woman" and "Skippy Whippy". According to the Rolling Stone Illustrated History of Rock and Roll, these "...featured fully formed rock & roll guitar riffs and a stomping rock & roll beat".
The Graves Brothers did not record again.[1] After the war, Roosevelt Graves is thought to have moved to Gulfport, Mississippi.
For a number of years, the subject of Uaroy's identity was disputed. In several books, magazine articles, and album liner notes that mentioned the Graves brothers, the names "Aaron" or "Leroy" were substituted for Uaroy, on the assumption that the otherwise unknown name Uaroy must have arisen due to the poor penmanship of a recording company employee whose handwritten notes were misinterpreted. This controversy was put to rest in 2004, when photographic copies of the Paramount files were posted to the internet, and it could clearly be seen that the person who wrote up the recording session notes had written in a careful, almost printed hand, "Uaroy Graves."[citation needed]
In October 2008, the recordings by the Graves brothers and the Mississippi Jook Band, and others who recorded in Hattiesburg, were commemorated by a marker on the Mississippi Blues Trail, established to preserve the state's musical heritage.[3]
Junior Wells *09.12.1934
Junior Wells (* 9. Dezember 1934 in Memphis, Tennessee, USA; † 15. Januar 1998 in Chicago, Illinois), eigentlich Amos Blackmore, war ein US-amerikanischer Blues-Musiker. Sein Instrument war die Mundharmonika. Er spielte mit Muddy Waters, Buddy Guy, Magic Sam, Lonnie Brooks und den Rolling Stones.
Biografie
Geboren in Memphis, wuchs Wells in Arkansas auf. Bereits im Alter von sieben Jahren spielte er Mundharmonika, die ihm von seinem Cousin Junior Parker und Sonny Boy Williamson beigebracht wurde.[1] 1948 ging er nach Chicago. Mit 18 Jahren spielte er in der Band von Muddy Waters, mit der er auch seine ersten Plattenaufnahmen machte. In den 1960ern arbeitete er vor allem mit Buddy Guy.
Die bekanntesten Songs von Junior Wells sind Messin’ With the Kid und Little By Little, sein bekanntestes Album ist Hoodoo Man Blues von 1965.
Einen Auftritt hatte er im Film Blues Brothers 2000, der kurz nach seinem Tod in die Kinos kam. Junior Wells starb 1998 an einem Herzinfarkt, während er sich in Krebsbehandlung befand. Er wurde auf dem Oak Woods Cemetery in Chicago beigesetzt. Bei seinem Begräbnis spielten Billy Branch, Sugar Blue und Harmonica Hinds einen Trauermarsch.[2]
Junior Wells was possibly born in Memphis, Tennessee, United States,[1] and raised in West Memphis, Arkansas, though other sources report that his birth was in West Memphis, Arkansas.[2] Initially taught by his cousin, Junior Parker, and Sonny Boy Williamson II, Wells learned how to play the harmonica by the age of seven with surprising skill. He moved to Chicago in 1948 with his mother after her divorce and began sitting in with local musicians at house parties and taverns.[3] Wild and rebellious but needing an outlet for his talents, he began performing with The Aces (guitarist brothers Dave and Louis Myers and drummer Fred Below) and developed a more modern amplified harmonica style influenced by Little Walter.[3] In 1952, he made his first recordings, when he replaced Little Walter in Muddy Waters' band and appeared on one of Muddy's sessions for Chess Records in 1952.[3] His first recordings as a band leader were made in the following year for States Records.[4] In the later 1950s and early 1960s he also recorded singles for Chief Records and its Profile Records subsidiary, including "Messin' with the Kid", "Come on in This House", and "It Hurts Me Too", which would remain in his repertoire throughout his career. His 1960 Profile single "Little by Little" (written by Chief owner and producer Mel London) reached #23 in the Billboard R&B chart, making it the first of two Wells' singles to enter the chart.[5]
Wells' album Hoodoo Man Blues (1965) on Delmark Records featured Buddy Guy on guitar.[3][6] The two worked with the Rolling Stones on several occasions in the 1970s.[6] His album South Side Blues Jam came out in 1971) and On Tap in 1975.[6] His 1996 release Come On in This House includes slide guitarists, Alvin Youngblood Hart, Derek Trucks, and others.[6] Wells made an appearance in the film Blues Brothers 2000, the sequel to The Blues Brothers, which was released in 1998.[3]
From Wells' "Hoodoo Man Blues" album cover Junior gives this story: "I went to this pawnshop downtown and the man had a harmonica prices at $2.00. I got a job on a soda truck... played hookey from school ... worked all week and on Saturday the man gave me a dollar and a half. A dollar and a half! For a whole week of work. I went to the pawnshop and the man said the price was two dollars. I told him I had to have that harp. He walked away from the counter -- left the harp there. So I laid my dollar-and-a-half on the counter and picked up the harp. When my trial came up, the judge asked my why I did it. I told him I had to have that harp. The judge asked me to play it and when I did he gave the man the 50 cents and hollered "Case dismissed!" (1948)
Wells began to have serious health problems, including cancer and a heart attack, in 1997.[3] He died in Chicago on January 15, 1998, and was interred in the Oak Woods Cemetery, Chicago.[1][7]
Wells was mentioned in the Steppenwolf song, "Tighten Up Your Wig", in which the lyrics explicitly state that they copied the music from Junior Wells' tune, "Messing with the Kid".
Junior Wells & Buddy Guy - Little By Little
https://www.youtube.com/watch?v=tcyad6MKXzI#t=58
https://www.facebook.com/carymorin1
Described as “one of the best acoustic pickers on the scene today,” Cary Morin brings together the great musical traditions of America and beyond like no other. With deft fingerstyle guitar and vocals that alternately convey melodic elation and gritty world-weariness, Morin crafts an inimitable style often characterized as acoustic Native Americana with qualities of blues, bluegrass, jazz, jam, reggae, and dance.
"A man and a guitar, a lot of soul, and an understanding of the history of soulful men with guitars in American music can sometimes achieve this kind of timelessness in their work…,” comments Richard Higgs (Public Radio Tulsa). “Cary Morin has the chops and is one of the best acoustic pickers on the scene today. [His] performances… would stand out, variously, among the old-school delta blues pliers, the Greenwich Village folk crowd at the end of the 1950s, the back-to-nature bards of the late '60s, or today's thriving singer/songwriter scene. Morin references all these styles; they're in his vocabulary, but he's no dilettante. His engaging sound is his alone...."
Morin’s third solo release, Tiny Town, follows close on the heels of an international tour that spanned the U.S. and reached as far as France and Denmark.
Crow tribal member and son of an air force officer, Morin was born in Billings, Montana. He spent the bulk of his youth in Great Falls, where he cut his teeth picking guitar standards at neighborhood get-togethers, before relocating to Northern Colorado. There, his musical career hit the ground running with The Atoll, a band he founded in 1989 and that toured nationally, gaining a devoted following. Later, he achieved international acclaim with The Pura Fé Trio, for whom the single “Ole Midlife Crisis,” which Morin wrote and performed with Pura Fé, placed at number 17 on France’s iTunes blues chart. With The Atoll and The Pura Fé Trio, and as a solo artist, Morin has played celebrated venues across the globe, including Paris Jazz Festival, Winter Park Jazz Festival, Folk Alliance International, River People Festival, Shakori Hill Festival, the 2010 Vancouver Olympics, and most recently Rochefort En Accords festival in France and The Copenhagen Blues Festival.
Morin’s stage credits also include Tribe at the Celebrity Theater in Phoenix, and co-authorship of Turtle Island, a 50-member production that played two consecutive years to sold-out audiences in Northern Colorado. With the Red Willow Dancers, he was a guest of the internationally renowned Kodo Drummers, performing at their 1998 Spring Festival and additional dates in Japan. He has produced or performed on over 15 recordings, and has toured across the US, as well as Japan, France, Germany, Italy, Switzerland, Spain, Belgium, Denmark, and the UK. Morin’s performances have reached millions on national TV in Japan, France, and the UK, as well as on national radio in the US (NPR’s Beale Street Caravan), UK (BBC’s Whose London), France (RFI), Switzerland, and Belgium.
For two consecutive years (2013 and 2014), Cary won the Colorado Blues Challenge Solo Championship. He was also nominated for Aboriginal Entertainer of the Year and Best Blues CD in the Aboriginal People's Choice Music Awards. In 2013, he received a lifetime achievement award from the Fort Collins Music Association (FoCoMA) and won the Colorado Fan Favorite Poll in the blues category for his second solo release, Streamline.
In addition to his solo pursuits, Cary Morin performs with Young Ancients, a collaboration with John Magnie and Steve Amedée of The Subdudes.
Cary Morin *09.12.
https://www.facebook.com/carymorin1
Described as “one of the best acoustic pickers on the scene today,” Cary Morin brings together the great musical traditions of America and beyond like no other. With deft fingerstyle guitar and vocals that alternately convey melodic elation and gritty world-weariness, Morin crafts an inimitable style often characterized as acoustic Native Americana with qualities of blues, bluegrass, jazz, jam, reggae, and dance.
"A man and a guitar, a lot of soul, and an understanding of the history of soulful men with guitars in American music can sometimes achieve this kind of timelessness in their work…,” comments Richard Higgs (Public Radio Tulsa). “Cary Morin has the chops and is one of the best acoustic pickers on the scene today. [His] performances… would stand out, variously, among the old-school delta blues pliers, the Greenwich Village folk crowd at the end of the 1950s, the back-to-nature bards of the late '60s, or today's thriving singer/songwriter scene. Morin references all these styles; they're in his vocabulary, but he's no dilettante. His engaging sound is his alone...."
Morin’s third solo release, Tiny Town, follows close on the heels of an international tour that spanned the U.S. and reached as far as France and Denmark.
Crow tribal member and son of an air force officer, Morin was born in Billings, Montana. He spent the bulk of his youth in Great Falls, where he cut his teeth picking guitar standards at neighborhood get-togethers, before relocating to Northern Colorado. There, his musical career hit the ground running with The Atoll, a band he founded in 1989 and that toured nationally, gaining a devoted following. Later, he achieved international acclaim with The Pura Fé Trio, for whom the single “Ole Midlife Crisis,” which Morin wrote and performed with Pura Fé, placed at number 17 on France’s iTunes blues chart. With The Atoll and The Pura Fé Trio, and as a solo artist, Morin has played celebrated venues across the globe, including Paris Jazz Festival, Winter Park Jazz Festival, Folk Alliance International, River People Festival, Shakori Hill Festival, the 2010 Vancouver Olympics, and most recently Rochefort En Accords festival in France and The Copenhagen Blues Festival.
Morin’s stage credits also include Tribe at the Celebrity Theater in Phoenix, and co-authorship of Turtle Island, a 50-member production that played two consecutive years to sold-out audiences in Northern Colorado. With the Red Willow Dancers, he was a guest of the internationally renowned Kodo Drummers, performing at their 1998 Spring Festival and additional dates in Japan. He has produced or performed on over 15 recordings, and has toured across the US, as well as Japan, France, Germany, Italy, Switzerland, Spain, Belgium, Denmark, and the UK. Morin’s performances have reached millions on national TV in Japan, France, and the UK, as well as on national radio in the US (NPR’s Beale Street Caravan), UK (BBC’s Whose London), France (RFI), Switzerland, and Belgium.
For two consecutive years (2013 and 2014), Cary won the Colorado Blues Challenge Solo Championship. He was also nominated for Aboriginal Entertainer of the Year and Best Blues CD in the Aboriginal People's Choice Music Awards. In 2013, he received a lifetime achievement award from the Fort Collins Music Association (FoCoMA) and won the Colorado Fan Favorite Poll in the blues category for his second solo release, Streamline.
In addition to his solo pursuits, Cary Morin performs with Young Ancients, a collaboration with John Magnie and Steve Amedée of The Subdudes.
Cary Morin - Old Guitar
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