Sonntag, 11. Dezember 2016

11.12. Big Mama Thornton, "Diamond" Jim Greene, Son Lewis, Darryl Jones *











1926 Big Mama Thornton*
1961 Darryl Jones*
1951 Son Lewis*
"Diamond" Jim Greene*









Happy Birthday

 

Big Mama Thornton  *11.12.1926

 

 


Willie Mae "Big Mama" Thornton (* 11. Dezember 1926 in Montgomery, Alabama[1]; † 25. Juli 1984 in Los Angeles) war eine US-amerikanische Bluessängerin, Songwriterin und Mundharmonikaspielerin. Sie war die erste, die „Hound Dog“ von Jerry Leiber und Mike Stoller aufnahm, der Song wurde später ein Hit für Elvis Presley. Von ihr stammt auch die Originalaufnahme von „Ball ’n Chain“, einem späteren Hit für Janis Joplin.
Leben
In ihrer Kindheit machte sie, wie viele Bluessängerinnen, in der Kirche ihre ersten musikalischen Schritte. Mit vierzehn Jahren wurde sie von einer Roadshow mit dem Namen „Hot Harlem Review“ engagiert.
Mit ihrer kräftigen Stimme und ihrem eindrucksvollem Auftreten versuchte man aus ihr eine neue Bessie Smith zu machen. Aber erst 1952 konnte Big Mama in der Johnny Otis Show mit leidenschaftlichem Rhythm and Blues ihren ersten Erfolg aufnehmen: Hound Dog, das in der Version von Elvis Presley später ein Klassiker des Rock and Roll wurde.[2] „Hound Dog“ wurde in die Wireliste The Wire's "100 Records That Set The World On Fire (While No One Was Listening)" aufgenommen.
In den Jahren 1951-1954 nahm Big Mama einige Titel in Begleitung der Johnny Otis Band für das Label Peacock Records auf, wobei sie bei einigen Aufnahmen auch virtuos Mundharmonika spielte. Aber keine dieser Aufnahmen (zum Beispiel „I Smell a Rat“, „Stop Hoppin' on Me“, „The Fish“, „Just like a Dog“) erreichte wieder die Charts.[3]
Inzwischen an der Westküste der USA niedergelassen, machte sie 1957 eine schwierige Zeit ohne reguläre Band und Engagement durch. In dieser Zeit tingelte sie nur noch durch kleine Clubs.
In den 1960er-Jahren verbesserte sie auch ihr Mundharmonikaspiel, das neben ihrer imposanten Stimme ihr Markenzeichen wurde. Erst mit dem aufblühenden Blues Revival verbesserte sich ihre Lage etwas. So nahm sie 1965 an der Europatournee des American Folk Blues Festivals teil. In London wurde bei dieser Gelegenheit das Album Big Mama Thornton in Europe aufgenommen. Durch ihre unbändige Dynamik riss sie Musiker und Zuschauer mit. Ihr Hit „Ball and Chain“ (u. a. von Janis Joplin gecovert) ließ sie die Gunst des großen Publikums gewinnen. Sie nahm in der Folge an vielen Tourneen und Festivals teil, darunter das Monterey Jazz Festival und das San Francisco Blues Festival, und spielte mehrere Alben ein. Zusammen mit T-Bone Walker nahm sie 1972 noch einmal am American Folk Blues Festival teil. Sie trat auch in den bedeutendsten Veranstaltungsorten, wie z. B. dem New Yorker Apollo Theater auf. Im Verlauf ihrer Karriere wurde sie sechs mal für die Blues Music Awards nominiert.
Big Mama litt zunehmend unter ihren Alkoholproblemen, die die Gesundheit zerstörten.
Sie wurde 1984 in die Blues Hall of Fame aufgenommen. Auch ist sie die Namensgeberin für das Willie Mae Rock Camp für Mädchen, einer Non-Profit-Organisation, die musikalische Ausbildung für Mädchen zwischen acht und achtzehn anbietet.

Willie Mae "Big Mama" Thornton (December 11, 1926 – July 25, 1984) was an American rhythm and blues singer and songwriter. She was the first to record Leiber and Stoller's "Hound Dog" in 1952,[1] which became her biggest hit. It spent seven weeks at number one on the Billboard R&B charts in 1953[2] and sold almost two million copies.[3] However, her success was overshadowed three years later, when Elvis Presley recorded his more popular rendition of "Hound Dog".[4] Similarly, Thornton's "Ball 'n' Chain" (written in 1961 but not released until 1968) had a bigger impact when performed and recorded by Janis Joplin in the late 1960s.
Style
Thornton's performances were characterized by her deep, powerful voice and strong sense of self. Many collaborators described her with words such as monstrous, intimidating, formidable, and menacing.[citation needed] She was given her nickname, "Big Mama," by Frank Schiffman, manager of Harlem's Apollo Theater, due to her big voice, size, and personality. Thornton specialized in playing drums and harmonica as well as singing, and she taught herself how to play these instruments simply by watching other musicians perform. Her style was heavily influenced by the gospel music that she witnessed growing up in the home of a preacher, though her genre could be described as blues.[5]
Thornton was famous for her transgressive gender expression. She often dressed as a man in her performances, wearing items such as work shirts and slacks. This led to many rumors about her sexuality, though none confirmed. Her improvisation was a notable part of her performance. She often enters call-and-response exchanges with her band, inserting confident and notably subversive remarks. Her play with gender and sexuality set the stage for later rock 'n' roll artists' own plays with sexuality.[5]
Feminist scholars such as Maureen Mahon often praise Thornton for subverting traditional roles of African American women.[5] She added a female voice to a field that was dominated by white males, and her strong personality transgressed patriarchal and white supremacist stereotypes of what an African American woman should be. This transgression was an integral part of her performance and stage persona.[6]
Biography
Early life
Thornton's birth certificate states that she was born in Ariton, Alabama,[7] but in an interview with Chris Strachwitz she claims Montgomery, Alabama as her birthplace. Probably because Montgomery, Alabama was a better known place than Ariton, Alabama. [8] Her introduction to music started in a Baptist church, where her father was a minister and her mother a church singer. She and her six siblings began to sing at very early ages. [9] Her mother died early and Willie Mae Thornton left school and got a job washing and cleaning spittoons in the local tavern. In 1940 Willie Mae Thornton left home and, with the help of Diamond Teeth Mary, joined Sammy Greens Hot Harlem Revue and was soon billed as the “New Bessie Smith”.[10] Although her introduction to music started within the church, Thornton's musical education came through pure observation of Rhythm and Blues artists Bessie Smith and Memphis Minnie, whom she admired deeply.[11]
Career
With the change that Rhythm and Blues was experiencing in the late 1940s, Thornton’s career began to take off when she moved to Houston in 1948. "A new kind of popular blues was coming out of the clubs in Texas and Los Angeles, full of brass horns, jumpy rhythms, and wisecracking lyrics."[12] She signed a recording contract with Peacock Records in 1951 and performed at the Apollo Theater in 1952. Also in 1952, she recorded "Hound Dog" while working with another Peacock artist, Johnny Otis. Songwriters Jerry Leiber and Mike Stoller[4] were present at the recording, with Leiber demonstrating the song in the vocal style they had envisioned.[13][14] The record was produced by Leiber and Stoller as Otis had to play drums after it was found that the original drummer couldn't play an adequate part. It was the first time Leiber and Stoller produced a recording, which went to number one on the R&B chart.[15] Although the record made her a star, she saw little of the profits.[16] Thornton continued to record for Peacock until 1957 and performed in R&B package tours with Junior Parker and Esther Phillips. Thornton originally recorded her song "Ball and Chain" for Bay-Tone Records in the early 1960s, "and though the label chose not to release the song…they did hold on to the copyright—which meant that Thornton missed out on the publishing royalties when Janis Joplin recorded the song later in the decade."[11]
As her career began to fade in the late 1950s and early 1960s,[1] she left Houston and relocated to the San Francisco Bay Area, "playing clubs in San Francisco and L.A. and recording for a succession of labels",[11] notably Berkeley-based Arhoolie Records. In 1965, she toured with the American Folk Blues Festival package in Europe,[17] where her success was notable "because very few female blues singers at that time had ever enjoyed success across the Atlantic."[18] While in England that year, she recorded her first album for Arhoolie, titled Big Mama Thornton – In Europe. It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter "Shakey" Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar.
In 1966, Thornton recorded her second album for Arhoolie titled Big Mama Thornton with the Muddy Waters Blues Band – 1966, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). She performed at the Monterey Jazz Festival in 1966 and 1968. Her last album for Arhoolie, Ball n' Chain, was released in 1968. It was made up of tracks from her two previous albums, plus her composition "Ball and Chain" and the standard "Wade in the Water". A small combo including her frequent guitarist Edward "Bee" Houston provided backup for the two songs. Janis Joplin and Big Brother and the Holding Company's performance of "Ball 'n' Chain" at the Monterey Pop Festival in 1967 and release of the song on their number one album Cheap Thrills renewed interest in Thornton's career.[5]
By 1969, she signed with Mercury Records. Mercury released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton had now signed a contract with Pentagram Records and could finally fulfill one of her biggest dreams. A blues woman and the daughter of a preacher, Thornton loved the blues and what she called the “good singing” of gospel artists like the Dixie Hummingbirds and Mahalia Jackson. That’s why she always wanted to record a gospel record. And of course Thornton really had the power to sing those gospel songs, and with the album called Saved (PE 10005), she achieved her longtime goal. You can hear the gospel classics “Oh, Happy Day,” “Down By The Riverside,” “Glory, Glory Hallelujah,” “He’s Got The Whole World In His Hands,” “Lord Save Me,” “Swing Low, Sweet Chariot,” “One More River” and “Go Down Moses” on this LP.[19] By now the American blues revival had come to an end. While the original blues acts like Big Mama Thornton mostly played smaller venues, younger people played their versions of blues in massive arenas for big money. Since the blues had seeped into other genres of music, the blues musician no longer needed impoverishment or geography for substantiation; the style was enough. While at home the offers became fewer and smaller, things changed for good in 1972. Again, like seven years before, the reason was a call from Europe. Thornton was asked to rejoin the American Folk Blues Festival tour and, since she always thought of Europe as a very good place for her and given the lack of engagements in the U.S. she agreed happily. Thus, on March 2, the tour brought Big Mama Thornton to Germany, France, Switzerland, Austria, Italy, Holland, Denmark, Norway, and Finland ending on March 27 in Stockholm. With her on the bill were Eddie Boyd, Big Joe Williams, Robert Pete Williams, T- Bone Walker, Paul Lenart, Hartley Severns, Edward Taylor and Vinton Johnson. As in 1965 they garnered recognition and respect from other great musicians who wanted to see them. [20] In the 1970s, years of heavy drinking began to hurt Thornton's health. She was in a serious auto accident, but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie "Cleanhead" Vinson, a recording of which is called The Blues—A Real Summit Meeting released by Buddha Records. Thornton's last albums were Jail and Sassy Mama for Vanguard Records in 1975. Other songs from the recording session were released in the 2000 under the name Big Mama Swings. Jail captured her performances during mid-1970s concerts at two Northwestern U.S. prisons.[21] She was backed by a blues ensemble that featured sustained jams from George "Harmonica" Smith, as well as guitarists Doug Macleod, Bee Houston and Steve Wachsman, drummer Todd Nelson, saxophonist Bill Potter, bassist Bruce Sieverson, and pianist J. D. Nicholson. She toured intensive through the US and Canada, played at the Juneteenth Blues Fest in Houston and shared the bill with John Lee Hooker.[22] In 1979, she performed at the San Francisco Blues Festival and the Newport Jazz Festival in 1980. In the early 1970s, Thornton's sexual proclivities became a question among blues fans.[12] Big Mama also performed in the Blues Is A Woman concert that year, alongside classic blues legend Sippie Wallace, sporting a man's 3-piece suit, straw hat, and gold watch. She sat at stage center and played the pieces she wanted to play that were not on the program.[23] Big Mama Thornton took part in the Tribal Stomp at Monterey Fairgrounds, Third Annual Sacramento Blues Festival, the Los Angeles Bicentennial Blues with BB King and Muddy Waters, was guest at a ABC-TV Special hosted by actor Hal Holbrook joined by Aretha Franklin and toured the through he clubscene. She was also part of the award-winning PBS television special Three Generations of the Blues with Sippie Wallace and Jeannie Cheatham.[24] Thornton died at age 57 in Los Angeles July 25, 1984 of heart and liver complications due to her long-standing alcohol abuse. Her weight dropped from 350 to 95 pounds within a short period of time; that is a total of 255 pounds that she lost because of her critical condition.[11]
Recognition
During her career, Thornton was nominated for the Blues Music Awards six times.[5] In 1984, she was inducted into the Blues Hall of Fame. In addition to "Ball 'n' Chain" and "They Call Me Big Mama," Thornton wrote twenty other blues songs.[25] Her "Ball 'n' Chain" is included in the Rock and Roll Hall of Fame list of the "500 Songs that Shaped Rock and Roll".[26]
In 2004, the non-profit Willie Mae Rock Camp for Girls—named for Thornton—was founded to offer a musical education to girls from ages eight to eighteen.[5]
The first full-length biography of Thornton "Big Mama Thornton: The Life and Music" written by Michael Spörke has been published in 2014.



Down Home Shakedown - Big Mama Thornton and Best Company... 











"Diamond" Jim Greene   *11.12.

 




Irgendwann hat ihn die "Los Angeles Times" mal als wiedergeborenen Robert Johnson gefeiert. Mit solchen Titeln muss man ebenso vorsichtig sein, wie mit seiner einseitigen Klassifizierung als Vertreter des Delta-Blues. Denn geboren wurde er in Chicago. Und einen großen Teil seiner musikalischen Ausbildung erhielt er in der Blues-Szene an der Ostküste. So spielt er ebenso die Slide-Gitarre aus der Traditionslinie Delta-Chicago wie auch das Fingerpicking-Spiel in der Tradition von Blind Boy Fuller oder Brownhie McGhee.
Der Legende nach soll der am 11. Dezember geborene Greene als sieben- oder achtjähriger Junge zum Blues gekommen sein, als er an einer Straßenecke den alten Bluesman Blind Arvella Gray gehört hatte. Doch zunächst beschäftigte er sich mit dem elektrischen Blues und interessierte sich für Jimi Hendrix. Irgendwann begann er in Washington, wohin er gezogen war, sich an Blues-Sessions zu beteiligen und gründete seine erste Bluesband. Doch zufrieden war damit wohl niemand.
Mitte der 80er Jahre nahm er schließlich an einem Blues-Workshop an einem College in West-Virginia teil. Hier nahmen ihn John Cephas und Phil Wiggins unter ihre Fittiche. Die beiden, die man ohne Übertreibung als rechtmäßige Nachfolger des legendären Duos von Sonny Terry & Brownie McGhee betrachten kann, lehrten ihn Feinheiten auf der akustischen Gitarre und als Performer. Für eine ganze Zeit gehörte er zu der Ostküstenszene um das Duo. Und er begann in Europa zu touren und sich hier einen Namen zu machen. 1995 erschien sein erstes Album "Just A Dream" beim niederländischen Black Magic Label.
Seither hat er vier weitere CDs bei amerikanischen und britischen Firmen veröffentlicht und ist bei den großen Festivals aufgetreten, hat Konzerte für andere Musiker von James Cotton bis hin zu Koko Taylor eröffnet und sich mit seiner Mischung aus dem alten Blues des Mississippi-Deltas und dem relaxten Ostküstenblues Fans gemacht.
Heute spielt er nicht mehr nur als Solist auf diversen Gitarren sondern lässt sich auch von Rhythmusgruppen und Harmonikaspielern begleiten. Auf seiner bislang letzten (2006 erschienenen) CD "Holding On" sind selbst Tuba und andere Blasinstrumente im Einsatz. Das verbindet ihn mit Keb' Mo', der seinen Sound auch immer wieder durch größere Besetzungen erweitert.


When I was about 7 or 8 years I saw Blind Arvella Gray playing a National Steel resonator guitar on Ellis avenue near 63rd Street on the south side of Chicago. This was around 1958 or ’59. There was a large crowd of adults around him and when he finished the song he was playing, the adults begged him to play it again. Mr. Gray told the crowd ” I cain’t keep playin’ dis stuff fo’ nuthin’ now, dis is how I make my livin’!.” The adults around him could not get their hands inside their pockets fast enough. Arvella had a tin cup clipped to the lapel of his jacket pocket which the adults filled up with half dollars and quarters. Some of the coins spilled onto the sidewalk. Me being the closest person to the sidewalk, began picking up the overflow of coins and stuffed them inside Mr. Gray’s jacket pocket. Of course, I was taking my little cut for my labor, after which Mr. Gray launched into the tune again. I have not been the same since. After that day, I made it my mission in life to see and hear every guitar player who came into view on the streets and taverns in Chicago and there were plenty. My sound today is a combination of those guitar players, singers, harmonica and piano players. My Biography:
“Diamond” Jim Greene
I was born and raised on the south side of Chicago until I was 12. My family moved a lot spending time in Alabama, Georgia, Ohio, Kansas and West Virginia. I have performed in numerous blues band configurations over the years including with the Southern California-based, all acoustic, “Blues Ambassadors” during the mid 1980’s. Even while with the Blues Ambassadors I performed gigs solo or with just a harmonica player.
For the last 25 years, I have pretty much performed unplugged and solo, or with a harmonica player and/or upright bass and sometimes piano and tuba. The late John Cephas with Phil Wiggins, the late John Jackson, the late Archie Edwards, Paul Geremia, Roy Bookbinder, all of whom I had the pleasure of meeting and playing with during the mid 1980′s, remain constant influences as does fellow Chicagoan, the late “Honeyboy” Edwards.

I have toured extensively throughout Europe since 1995, spreading the good news about acoustic blues on major festival stages in the U.S. and abroad, including multiple years in the Chicago Blues Festival; the Long Beach Blues Festival and several years in the International Blues Festival at Lucerne, Switzerland, to name but a few.

My instruments of choice are prewar National Steels and 12 string guitars. At most of my gigs I play my Nationals plugged in or in front of an SM-57 Microphone. I have had the unbelievable pleasure of opening shows for James Cotton, Buddy Guy, the late Ike Turner, Otis Clay, the late KoKo Taylor, John Hammond, Duke Robillard, the late John Cephas & the still alive Phil Wiggins, Saffire (the Uppity Blues women), Sherman Robertson, Joe Louis Walker, Mississippi Heat, Lonnie Brooks, and a host of other well-established blues performers.


Diamond Jim Greene - Canned Heat 


https://www.youtube.com/watch?v=yxPlsd83Y7U 







Son Lewis  *11.12.1951

 



Son Lewis (born Andrew Lewis, December 11, 1951, Paterson, New Jersey) is an American blues singer and guitarist. He was nicknamed "Son" or "Sonny" by his family, to differentiate him from his father, Andrew Lewis Sr.
He is the son of former soldier and businessman Andrew Lewis Sr. (whose photo is used on Lewis' "Dignified" CD cover) and his wife, Frances Frano. He has one sister, Michele.
Career
Although not coming from a musical family, he was influenced by his cousin Carl Lewis, who exposed him to Delta and Chicago blues at a very young age. Lewis started playing guitar in 1964, studying under the R&B guitarist Dennis Gorgas, and later with Danny Kalb, founder and leader of The Blues Project. During that time, Lewis performed with The Avlons (on bass guitar) and fronted The Strangers and The Love Merchants (vocals and rhythm guitar) performing covers of "Blue-eyed Soul", Motown and STAX hits. By late 1968, Lewis had begun visiting the folk and blues clubs of New York's Greenwich Village. After witnessing a performance by John P. Hammond at Gerde's Folk City, he was determined to begin performing as a solo acoustic performer. In early 1969, Lewis became a regular fixture at "open mics" and "hootenanys" in and around the New York/New Jersey area, singing and playing acoustic blues guitar in the Delta and Piedmont styles. These performances resulted in several paid gigs as an opening or support act at The Coffeehouse at Fairleigh Dickenson University in New Jersey. During that period, Lewis opened shows for The Manhattan Transfer (when they were a folk group), comedian Chris Rush, Melissa Manchester, J.F. Murphy and Free Flowing Salt.
In 1974, Lewis re-incorporated electric guitar into his repertoire and shortly thereafter formed The Son Lewis Blues Band, which has featured members of Mink DeVille, Exuma, Rockett 88, Impact and The Ricki Lee Jones Band.
Since 1979, he has recorded ten albums, primarily for New Jersey's Silk City Records[1] and has appeared on numerous compilation albums. In 1996, he was selected by The Skyland Blues Society to represent Northern New Jersey in the 'International Blues Competition', held by the Blues Foundation in Memphis, Tennessee. He has also appeared on a number of local television programs and has over 25 live radio broadcasts to his credit.
Songwriter
Long considered "an interpreter", Lewis originally wrote ballads in the late 1960s but refused to perform them in his live performances. He began writing blues and roots-based songs again in 2001, and now focuses extensively on original material for his recorded works. His CD Cadillac Rhythm, released in 2008, featured all original songs written by Lewis, or co-written with his keyboardist John Pittas. Lewis' original material was again featured prominently in his 2011 recording "Laws of Nature". Lewis has also returned to writing in other genres outside of Blues and his instrumental song "For Skylar" has been used by several broadcast radio stations as a music bed for public service announcements.
Movie scores
Son Lewis contributed 19 original jazz compositions to Director Mike Lordi for use in the 2013 independent film Love In a Coffeeshop and four Blues tunes for Lordi's 2011 film The Big Weekend. He has also contributed numerous pieces for television, radio and internet advertisements.



Evalina_LIVE.wmv 


Darryl Jones  *11.12.1961

Darryl Jones (* 11. Dezember 1961 in Chicago, Illinois) ist ein US-amerikanischer Bassist, der sich in den Genres Rock und Jazz betätigt.

Leben und Wirken

Ab seinem sechsten Lebensjahr nahm Darryl Jones Musikunterricht bei seinem Vater, einem Schlagzeuger. Einige Jahre später stieg er auf die Bassgitarre um, inspiriert von seinem Nachbarn Angus Thomas, der ebenfalls Bass spielte und ihn die Grundlagen des Spielens lehrte. An der Chicagoer „Vocational High School“, an der er dann intensiven theoretischen Unterricht nahm, machte er erste Erfahrungen in Live-Bands im Umgang mit dem elektrischen Bass sowie in Orchestern mit dem Kontrabass.

In den frühen 1980er Jahren war er Mitglied der Miles Davis Band und an dessen Alben Decoy sowie You’re Under Arrest beteiligt. Seitdem wirkte er beispielsweise bei Studioaufnahmen von Kenny Garrett, Herbie Hancock, Sting und Peter Gabriel mit.

Darryl Jones ist derzeit unter anderem als Begleitmusiker und Sessionmusiker der Rolling Stones beschäftigt, die seit Bill Wymans Ausstieg im Jahre 1993 ohne festen Bassisten sind. Sein Debüt bei den Rolling Stones gab er auf dem 1994 erschienenen Album Voodoo Lounge.

Darryl Jones (born December 11, 1961),[1] also known as "The Munch",[2] is an American bass player for the Rolling Stones. He has also played in bands with Miles Davis and Sting.

Music career

Jones was born in Chicago, Illinois.[1] His father, a drummer, taught him drums and xylophone. When Jones saw a neighbor playing bass in a school talent show, he switched to bass.[1] He attended Southern Illinois University Carbondale.

He started his music career as a studio musician in New York City, playing often with Vince Wilburn, Jr., the nephew of Miles Davis. When Wilburn told him Davis was looking for a bass player, he called Davis and eventually went on tour with him in 1983.[3] Jones recorded on Davis's albums Decoy (1984) and You're Under Arrest (1985).

In 1985 he became a member of Sting's band with Branford Marsalis, Kenny Kirkland, and Omar Hakim. With Sting he recorded the album Dream of the Blue Turtles, the live album Bring on the Night, and appeared in the documentary of the same name about the band's formation and tour.

Jones became a touring member of the Rolling Stones in 1993 after bassist Bill Wyman retired. Jones has toured with the band several times and appeared on the albums Voodoo Lounge (1994), Stripped (1995), Bridges to Babylon (1997), No Security (1998)[4] and Blue & Lonesome (2016).

Jones is a member of the Stone Raiders and has performed or recorded with the Headhunters, Steps Ahead, Mike Stern, John Scofield, Eric Clapton, and Madonna.
Bill Evans Project with Dean Brown, Darryl Jones, Dennis Chambers - Estival Jazz Lugano 2016 
Bill Evans - sax - http://www.billevanssax.com/
Dean Brown - guitar - http://www.deanbrown.com/
Darryl Jones - bass - http://darryljones.com/
Dennis Chambers - drums - http://www.dennischambers.com/
● Bill Evans Project with Dean Brown, Darryl Jones, Dennis Chambers:
Live at Estival Jazz Lugano, Piazza della Riforma, Switzerland, July 9th, 2016


https://www.youtube.com/watch?v=XujM4pvyGPI 


The Rolling Stones - Just Your Fool (2016 new song!) 
Line Up

The Rolling Stones
    Mick Jagger – vocals, harmonica
    Keith Richards – guitar, vocals
    Ronnie Wood – guitar
    Charlie Watts – drums
Additional musicians
    Eric Clapton – guitar on "Everybody Knows About My Good Thing" and "I Can't
    Quit Yo Baby"
    Matt Clifford – keyboards
    Chuck Leavell – keyboards
    Darryl Jones – bass guitar
    Jim Keltner – percussion on "Hoo Doo Blues"
https://www.youtube.com/watch?v=PacX2YgdLOo 


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