Mittwoch, 22. Februar 2017

22.02. Bill Jackson, Roy Roberts, Texas Johnny Brown, Peter Novelli, Freddie Maguire, Ernie K-Doe * Papa John Creach +










1922 Bill Jackson*

1928 Texas Johnny Brown*

1936 Ernie K-Doe*

1943 Roy Roberts*

1980 Freddie Maguire*

1994 Papa John Creach+

Peter Novelli*

Wood Howlers*








Happy Birthday

 

Bill Jackson   *22.02.1922

+ unknown 

 

One of the most gratifying and significant aspects of the blues revival of the past
several years-part of the general resurgence of interest in America's folk music her-
itage-has been the discovery and consequent recording of a number of gifted blues
artists who previously had been unheralded or little known outside their immediate
environs. Cat Iron, Mance Lipscomb, Memphis Willie Borum, Robert Pete Williams, Fred
McDowell, and K. C. Douglas are but a few of the names that spring readily to mind.
All are men who, despite their widely disparate backgrounds, ages, and geograph-
ic origins, have in common a commitment to the deepest, most expressive human
resources of the blues. All are perpetuators of a musical tradition that at its most potent
is one of the most vital and enriching folk expressions evolved in this country, yet one
that is in grave danger of disappearing from the American scene due to increasing accul-
turation, the inroads of mass media and the seeping of popular culture into every nook
and cranny of our land, and the gradual eradication of the social circumstances which
gave rise to and nourished the blues.
Of this debilitating process critic Robert Shelton has written: "With the inroads of
mass communication and the shift in cultural values of rural Negroes, there is evidence
to indicate that the old country blues tradition has been ebbing/' He continues on an
optimistic note: “The very fact of a revival of interest in folk art and folk music in a peri-
od of this country's greatest prosperity bids as much for the continuance of a country
blues tradition as for the continuance of the Spanish cante hondo, the Roumanian doina
and the Portuguese fado. The blues will die when personal unhappiness dies. Folk art has
nothing if it has no durability."
Durability or no, it has been apparent for some time that the more archaic blues
traditions and practices have been dying from neglect, for perpetuation sorely needs
usage-and the older singing and playing styles have had increasingly fewer outlets and
opportunities to be heard in the last two decades, at the folk level, that is. One asks just
where the "continuance of a country blues tradition" is to come from if not from the
folk itself, and the younger Negro generation, it must be admitted, has virtually turned
its back on this tradition in favor of the sleek, cheap banalities currently served up by
popular culture.
In the face of the sad but unavoidable fact of the growing decline of the older blues
forms and practices, their preservation and documentation-while this may yet be
done--becomes doubly imperative.

All of which is an extended apologia for this recording, which presents the music
making of Bill lackson, a thin, gentle, dignified man of 57 years in whose wistful, ingen-
uous singing and nimble fingers are carried the Negro folksong traditions of his native
Maryland.
This disc is a debut recording in two senses, for not only does it represent lackson's
initial recording, but it further offers the first extended sampling of the vigorous Negro
folk music of the state of Maryland, a musical tradition that prior to this album had not
been represented on long-play disc, and one that is virtually ignored in the one book
dealing with the folklore of the state, A. W. Whitney and C. C. Bullock's 1925 statewide
survey Folk-Lore From Maryland (published by the American Folk-Lore Society).
Yet, on the basis of this long-play collection alone (and other, more varied sam-
plings from this fecund area will follow on the Testament label), it may be readily seen
that the Negro folk music of Maryland is particularly rich and hardy.
Further, it becomes evident that this folk song tradition is an extraordinarily musi-
cal one, in that as much emphasis (if not more) is placed upon good, solid musician-
ship-as exemplified in ]ackson's intricate, stunningly detailed and percussive guitar
accompaniments and in the rich melodic contours of the selections he performs here-
in-as on the qualities of total emotional commitment, dramatic intensity, deep pathos,
and driving fervor that most usually inform Negro folksong.
This recording, in fact, lends added support to the belief voiced by many folklorists
and blues authorities that there exists a distinct "East Coast” blues style-one that is
characterized by a carefully controlled emotionality; a deliberate, more sedate han-
dling of vocal and instrumental techniques; a very conscious awareness of and adher-
ance to formal elements; and an extremely high caliber of musicianship, especially as
regards the complexity of instrumental accompaniment.
This particular approach to the blues-undoubtedly reflecting considerable influ-
ence from white folk music disciplines, with their more acute emphasis on formal and
technical considerations--may lack the stinging emotive power and urgency of more
elemental Negro folksong stylings (as, for example, the acid, rawly impassioned
Mississippi Delta blues and religious song approaches), but it does possess an undeni-
able charm and power of its own. The force and emotion are there, to be sure-but they
are kept carefully in check, subordinated to elements considered of greater importance
in the region-musicianship, subtlety, understatement, grace, and a dancing melodic line.
They are elements very much in evidence in the work of Bill jackson, to my admit-
tedly biased way of thinking one of the most brilliantly gifted blues guitar stylists to
emerge in some time (for a sample of his instrumental art at its most effective, listen to
his wonderful handling of Careless Love); a capable singer; and the writer of a number
of memorable, finely wrought blues.
Bill lackson was born in Granite, Maryland, on February 22, 1906, one of five
children, and the only one of his family to take an interest in music. Bill was fifteen
years old when the playing of an older neighbor, lim Fuller, one of the region's finest
guitarists, inspired in him a desire to take up the instrument. After six months of rudi-
mentary instruction from Fuller, Iackson struck out on his own and began playing at the
house parties, community work parties, back country suppers and dances that com-
prised the region's social life. Small three- or four-piece string groups made up of gui-
tar, banjo, mandolin and violin would play reels, jigs, and breakdowns for the dancers
at these affairs.
In these surroundings, lackson mastered the musical style of the area. Chief
among his accomplishments was his prowess on the guitar, a definite style for which
had evolved and gained favor in the region. This approach was noted for its richness
and complexity; it was a heavily syncopated one, with melodic figures in the treble set
against recurring bass patterns, both clearly defined and often involving a simultaneous
chordal strumming. Two- and three-finger picking was not uncommon, perhaps reflect-
ing a direct influence from the banjo stylings that are still to be heard in the region;
many guitarists, for example, are likewise adept at the banjo.
lackson's music, direct and immediately appealing, requires little in the way of
explanation or analysis. Stylistically his music-and that of the region he represents-
appears to draw equally on Negro and white country music idioms. There is in
]ackson's singing and playing as much from Anglo-American sources-as in the empha-
sis on formal design, melodic clarity, and the restrained stateliness of delivery-as there
is from the Negro tradition, especially that of ragtime, which exerts a strong influence
on his approach. The approach is not at all unlike that of the various popular female
"classic" blues singers of the 1920s, especially Sara Martin, whose recordings gained
wide favor in the region once they were issued (probably because they reflected the
prevailing stylistic preference of the area). Harry Oster has noted a resemblance to the
work of Henry ”Ragtime” Thomas in lackson's approach.
After several years on the work gangs of the Baltimore & Ohio Railroad-during
which time he extended his love of music and his repertoire and skills-lackson moved
to Philadelphia, Pa., where he has remained with his wife and daughter ever since, mak-
ing periodic trips to his family and friends in the Granite-Ellicott City-Catonsville sec-
tion of Maryland. In this manner has he been able to maintain his allegiance to the pure
musical style of the area.
In 1928, shortly after making the move to Philadelphia, jackson had the opportu-
nity of recording for RCA Victor. A man who had heard Bill performing at a party was
so impressed with his singing and playing that he arranged an audition at Victor's
Camden, N. I. studios. Officials at the record firm were likewise enthusiastic over
|ackson's songs-Long Steel Rail and Old Rounder Blues-but the erstwhile manager
demanded an exorbitant advance on the two songs which Victor was understandably
unwilling to meet. Neither side would relent, so lackson never recorded. Victor officials
told Bill that they were interested in recording him and, if he could get rid of his man-
ager and his unreasonable demands, they would be more than happy to issue his mate-
rial; jackson was insufficiently interested to go back later.
Bill jackson supported himself as best he could in the more than three decades that
followed his move to Philadelphia. He worked as a building superintendent, janitor (and
was working in this capacity when l first heard him some years ago), and even worked
as a house boy for a history professor so that he might learn more of a subject that has
always fascinated him. At present he is employed as a chauffeur by a firm that provides
limousine service to the residents of Philadelphia's affluent Main Line area. When these
recordings were made in lanuary of 1962, it was not uncommon to find Bill working 12
to 18 hours a day.
Further, he had played only infrequently in the several years before these record-
ings. ln 1961 I was producing a folk music program for Philadelphia's enterprising
WHYY-FM, in the course of which a number of fine folk artists were discovered, record-
ed and presented.
Bill lackson was the one single artist I was most anxious to find. Some five or six
years previous l had heard him play briefly when he was working as a janitor in a build-
ing in my neighborhood and was greatly impressed with the fluency and striking com-
plexity of his playing. Shortly afterwards he had moved out of the neighborhood and repeated attempts to discover his whereabouts had proven futile. I continued looking
even while in the armed service but was unable to find anyone who knew where to find
Bill. Then, several months after the WHYY series had been under way, I heard that Bill
was working at an exclusive girls' school in a Philadelphia suburb. I called the school
office and was told that, yes, Bill jackson had indeed worked there but had left some
time before. One of the office workers recalled that he was then working for a taxi ser-
vice and often saw him driving through the streets near the school. The next time she
saw him she would tell him that I was looking for him.
Two weeks later Bill jackson rang my door bell, and after a long conversation he
tentatively played a few old numbers for me. The playing was a mere shadow of what
is heard within, but the germ was still there. Over the next two months Bill practiced
diligently and his old skill returned to him; he likewise began to recall all the songs of
his youth in rural Maryland. We held recording sessions regularly, every two weeks or
so, at my home to chart his progress and so he might hear how his playing might be
improved. The recordings in this album were taped on january 1 and 3, 1962, and offer
a representative sampling of the rich and varied music of Bill jackson and, coinciden-
lally, of the strong, fecund Negro folk music traditions of his native Maryland.




Bill Jackson - Titanic Blues 


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








Roy Roberts  *22.02.1943

 



Roy Roberts (born February 22, 1943) is an American blues musician, record producer, and singer-songwriter. Roberts grew up in a small town in Livingston, Tennessee, listening to blues and R&B on radio stations. At the age of 14 he worked on a nearby farm to earn the money for his first guitar, a mail order Sears Silvertone.
Roberts left farm-life at age 18 to live with an uncle in Greensboro, North Carolina. He was inspired to become a professional musician after he went to a nightclub where Jerry Butler was performing. Roberts worked hard honing his guitar skills while playing in bands until he landed a job with local Greensboro hero, Guitar Kimbers’ Untouchables. Before long, he began backing up major artists who came through town.
One major artist, Solomon Burke, took Roberts under his wing after letting him sit in as a bass player during a local gig. Roy soon became the guitarist behind Burke on tour. Roberts subsequently picked up touring gigs with Eddie Floyd, “Little” Stevie Wonder, Dee Clark and Otis Redding, while fronting his own band, The Roy Roberts Experience, on the regional club scene and Southeastern beach town circuit.
Roberts began to cut records in the mid-1960s, staying mostly behind the scenes as a session man with Eddie Floyd, Dee Clark, Stevie Wonder, William Bell, Solomon Burke, and Otis Redding. The death of Otis Redding inspired Roberts to step up to the microphone with a song dedicated to the late crooner. The record was released on Nina Simone’s NinaAndy label. Roberts followed this successful effort with a string of singles that carried him well into the 1970s. During the disco years, Roberts turned his talents to country music, touring with O.B. McClinton and releasing a number of country records. After a brief hiatus from the music scene, Roberts built a recording studio in Virginia in 1989, where he produced records by regional gospel artists and cut a gospel record of his own.
In the early 1990s, Roberts returned to Greensboro, and built Rock House Records recording studio. Besides recording his own material on Rock House, Roberts has produced albums for Priscilla Price, Lou Pride, Chick Willis, Skeeter Brandon, Floyd Miles and Eddie Floyd. He has won numerous awards for his record production and his own music.


Strange Love - Roy Roberts 


Texas Johnny Brown  *22.02.1928

 
Texas Johnny Brown (February 22, 1928 - July 1, 2013) was an American blues guitarist, songwriter and singer. He is best known for his composition "Two Steps from the Blues" and, in a lengthy career, variously worked with Joe Hinton, Amos Milburn, Ruth Brown, Bobby "Blue" Bland, Lavelle White, Buddy Ace and Junior Parker.[2] Although he was born in Mississippi, Brown's long association with Houston, Texas, gave him his stage name.
Before his death, Allmusic noted that Brown "remains one of the more immovable veterans dotting the inexplicably low-key Houston blues landscape".[3] His jazzy guitar style of playing the blues, has been attested to the early influence on him of Charlie Christian.[4]
Biography
He was born John Riley Brown,[2] in Ackerman, Choctaw County, Mississippi, United States. As a child he played guitar alongside his father, who was blinded while working for the railroad,[5] on the streets of his hometown and further afield, before the family finally relocated to Houston in 1946.[4][6]
Brown's professional music career started in a band called the Aladdin Chickenshackers, who regularly backed Amos Milburn.[1] He recorded with Milburn, and also backed Ruth Brown on her earliest cuts for Atlantic. Through this work, in 1949, Brown was able to record some tracks of his own, where he was in turn backed by Milburn and the Aladdin Chickenshackers.[7] He also undertook an unreleased session for the American Record Corporation in the early 1950s.[1] Brown's three year stint of military service finished in 1953, and he re-commenced backing Lightnin' Hopkins.[8] In addition, Brown performed regularly with Junior Parker throughout the 1950s.[7]
Brown's recording career continued in the mid 1950s, when he was utilised mainly as a sideman for both of the affiliated Duke and Peacock record labels. Often his contributions went uncredited on releases by musicians such as Lightnin' Hopkins and Joe Hinton.[1] In the late 1950s, Brown composed "Two Steps from the Blues", which became the title of an album released by Bobby "Blues" Bland in 1961.[9] Brown toured as Bland's lead guitarist in the 1950s and 1960s.[1]
Brown continued with his regular recording and stage duties until 1963, when he began a number of day jobs including driving trucks, working as a mechanic,[5] landscaping and operating a forklift.[6] Brown also recalled jam sessions in the mid 1960s at the Club Matinee in Houston, which regularly featured himself, Goree Carter, Joe Bell, Roy Gaines and Clarence Hollimon.[10] He retired in 1991, and formed the Quality Blues Band with whom he performed up to his death.[6] His 1949 tracks, "The Blues Rock", "There Goes The Blues", and "Bongo Boogie" were featured on the compilation album, Atlantic Blues:Guitar, which was first released by Atlantic Records in 1986.[7][11]
In 1996, Brown appeared at the Long Beach Blues Festival.[7] In 1998, Brown finally released an album under his own name, Nothin' but the Truth. The Allmusic journalist, Hobart Rowland noted of the tracks, "the insistent toe-tappers 'Your House, Your Home' and 'Stand the Pain' and the keyboard-drenched 'Blue and Lonesome' are easily among Brown's best".[12] Nothin' but the Truth, which included Brown's version of his song "Two Steps from the Blues", was nominated for a W.C. Handy Blues Award in 1999 as the 'Comeback Album of the Year'.[7][13]
In September 2001, Brown was named 'Blues Artist of the Year' at the Willie Mae "Big Mama" Thornton Blues Festival, which took place in Houston.[7] In January 2002, Brown's second album, Blues Defender was released, also on Choctaw Creek Records.[14] Brown was quoted following an interview in June 2010 with the Texan newspaper, Valley Morning Star, about his work that, "melancholy feelings make good blues music."[5]
In September 2011, Brown's roots were honored with an historical marker on the Mississippi Blues Trail in Ackerman.[4]
Brown died at his home in Houston, Texas, in July 2013 from lung cancer, aged 85.


 
Texas Johnny Brown 








Peter Novelli  *22.02.



 Guitarist / singer / songwriter Peter Novelli is based in New Orleans. Critics have described the sound of Peter Novelli Band as “a potent combination of New Orleans street rhythms, swampy backbeats, jazzy infusions, and a most sincere and innovative approach to the blues,” and “from slinky zydeco two-steps to stinging blues rock, from winking swamp-boogie to angular Crescent City grooves.”

Novelli’s songwriting has been compared to John Hiatt. Blues Revue said “his blues are sophisticated and creative in a way that so few blues CDs are today. He deserves attention as one of the best storytellers in the blues today.”

Novelli’s 2nd CD Louisiana Roots & Blues (2012) has garnered much acclaim and radio play. With his core rhythm section Darryl White (drums, formerly w/ Tab Benoit and Chris Thomas King), Chris Chew (bass, North Mississippi Allstars), Joe Krown (B3/piano, formerly late Gatemouth Brown), and special guests Chubby Carrier (Grammy-winning zydeco accordionist), Chris Thomas King (lap slide guitar, Grammy “Oh Brother, Where Art Thou”), Shamarr Allen (trumpet), Gordon Minette (piano) and Elaine and Lisa Foster on backing vocals.

Novelli’s debut CD hit the blues/roots charts within a month of release and gathered widespread critical acclaim. His originals, with a few selected covers, made a journey through Louisiana-American roots-blues music. Guests include Dr. John, Paul Barrere, Augie Meyers, the late Gatemouth Brown’s rhythm section, and top Lousiana musicians. The CD includes an historical Tribute To Slim Harpo, with members of Harpo’s band (James Johnson, Rudy Richard) and rare interviews.

Novelli started violin at age 6, picked up guitar at 14 after hearing a BB King record. The intensity, passion and raw emotional content of the blues masters (black/white, north/south) stuck in his ear and that drives him to this day. He likes to combine this feel with harmonic ideas of jazz, the relentless groove of zydeco, and just about any cool and unusual style of music or rhythm that fits.

Early influences, along with B.B., were George Barnes, James Burton, Clarence White, Freddie King, Mike Bloomfield, Roy Buchanan, James Johnson (Slim Harpo), Guitar Slim, early Eric Clapton and Jeff Beck, Keith Richards, Gatemouth Brown, Albert Collins and more. Novelli was strongly influenced by some of the iconic jazz horn players. From a young age, Novelli listened to and learned blues and R&B from Baton Rouge, New Orleans and Texas.

Growing up, Novelli played in Syracuse, NY rock, blues and country bands. He hung out, jammed and gigged at the legendary underground Jabberwocky (hosted artists from Townes Van Zandt to Bonnie Raitt, Traffic to Mahavishnu Orchestra, Jackson Browne to James Brown!).

Some years back, after his band opened for Buckwheat Zydeco, Novelli travelled to SW Louisiana, absorbing more zydeco and cajun influences, sharing stages and jamming with many legends such as the late “King of Zydeco” Roy Carrier. This led to a work with Louisiana accordionist Sammy Naquin over several years, touring with Sammy and also Cajun fiddle-guitar virtuoso Al Berard.

Novelli has shared stages and/or studios with some of the “who’s who” of blues, rock, R&B and roots music, including Dr. John, Sammy Kershaw, Olivier Scoazec, guitar (Zachary Richard, Buckwheat Zydeco); Greg "Fingers" Taylor (Jimmy Buffett); Smoky Greenwell (harp/sax, formerly WAR); New Orleans R&B guitar legend Irving Bannister; band members of the late R&B legends Ernie K. Doe and Eddie Bo; numerous New Orleans musical icons, and many, many more. Novelli has collaborated and co-written songs with several Grammy-winning artists and songwriters.

Novelli performs around New Orleans and tours extensively. He also performs solo guitar, does session work, composes music and guests with numerous other bands and performers. 


Peter Novelli Just these blues 


https://www.youtube.com/watch?v=4_NDHJC16yo 





Freddie Maguire  *22.02.1980




https://www.facebook.com/nearthejail.bluesband.96



Freddie Maguire & Lorenzo Nardi Band 


https://www.youtube.com/watch?v=V1SYf0oaty8 





Ernie K-Doe  *22.02.1936





Ernie K-Doe (* 22. Februar 1936 in New Orleans, Louisiana; † 5. Juli 2001 ebenda; eigentlich Ernest Kador, Jr.) war ein US-amerikanischer Sänger.

Leben und Wirken

Kador begann im Alter von sieben Jahren in einem Kirchenchor zu singen („Golden Choir Jubilees of New Orleans“). Später schloss er sich verschiedenen Gospelchören an.

Ernie K-Doe besang seine erste Single im Jahre 1959 beim kleinen Plattenlabel Ember Records unter dem Titel My Love For You. Im Jahre 1960 wechselte Ernie K-Doe dann zum gerade neu gegründeten Plattenlabel Minit Records in New Orleans. Seine erste Platte hier war Make You Love Me (#604). Dieser Titel geriet noch in Vergessenheit, doch bereits seine zweite Veröffentlichung, Hello My Lover (#614), verkaufte über 100.000 Exemplare. Sein ganz großer Erfolg war dann das von Allen Toussaint komponierte und produzierte Mother-in-Law[1] / Wanted $10,000 Reward (#623), ein im April 1961 veröffentlichter humorvoller Song über die stereotypen Probleme mit Schwiegermüttern, die offenbar aus der Hölle gesandt werden. Allein der Titel bedeutete einen enormen Kaufanreiz. Der Song mit der den Titel wiederholenden dumpfen Bass-Stimme von Benny Spellman brachte für Minit Records nicht nur die erste Nummer eins in den Rhythm & Blues-Charts, sondern war ein wertvoller Crossover-Erfolg, der auch in der Pop-Hitparade bis zur Topposition vordrang. Er wurde über eine Million mal verkauft.

Zusammen mit dem Musikproduzenten Allen Toussaint entstanden noch weitere Singles wie etwa Te-Ta-Te-Ta-Ta (Juli 1961), die jedoch an den Erfolg des Millionensellers nicht mehr anknüpfen konnten. Auch ein Wechsel zum Plattenlabel Duke Records im Jahre 1967 konnte K-Does abnehmende Popularität nicht mehr stoppen.

Ernest Kador, Jr. (February 22, 1933 – July 5, 2001),[1] known by the stage name Ernie K-Doe, was an African-American rhythm-and-blues singer best known for his 1961 hit single "Mother-in-Law", which went to number 1 on the Billboard pop chart in the U.S.

Early career

Born in New Orleans, K-Doe recorded as a member of the group the Blue Diamonds in 1954 before making his first solo recordings the following year. "Mother-in-Law", written by Allen Toussaint, was his first hit, reaching number 1 on both the Billboard pop chart and the Billboard R&B chart. K-Doe never had another top-40 pop hit, but "Te-Ta-Te-Ta-Ta" (number 21, 1961) and "Later for Tomorrow" (number 37, 1967) reached the R&B top 40.

Later career

In the 1980s K-Doe did radio shows on the New Orleans community stations WWOZ and WTUL. The shows were known for his explosively energetic announcements and frequent self-promotion (occasionally causing problems for the noncommercial station). K-Doe's catch phrases included "Burn, K-Doe, Burn!", "I'm a Charity Hospital Baby!" and (addressed to himself) "You just good, that's all!". For a time he billed himself as "Mister Naugahyde", until he was ordered to desist by the owners of the Naugahyde trademark. K-Doe then explained that it was a misunderstanding; he was actually referring to himself as "Mister M-Nauga-Ma-Hyde", a word he invented himself.

In the 1990s K-Doe began billing himself as "The Emperor of the Universe" and, wearing a cape and crown, became a famous local eccentric in New Orleans. He continued performing and occasionally recording until shortly before his death. Always an elaborate showman, one of K-Doe's most notable later performances was at the Aquarium of the Americas, in New Orleans, where he performed at a benefit for a local group aiding people with disabilities. The show ended with K-Doe performing seven continuous renditions of "Mother In Law" while dancing in front of the Gulf of Mexico shark tank exhibit dressed in a green plumed cape. Later recordings of note include "White Boy, Black Boy". While best known as a singer, he was also an accomplished drummer.

The song "Here Come the Girls" was released in 1970 in England, but was not a hit. It was re-released in 2007 as a result of its use in an advertising campaign for Boots stores and reached number 43. A cover by the Sugababes reached number 3 on the UK charts in 2008.

Death

K-Doe died in 2001 of kidney and liver failure from years of alcoholism. After a traditional jazz funeral, he was interred in the 200-year-old Duval tomb in Saint Louis Cemetery number 2, in his native New Orleans. He had burial space in his father's family cemetery in Erwinville, Louisiana, but his widow, Antoinette, as well as his fans and friends in New Orleans, wanted his remains in the city, so the Duval family offered him some of their burial space. He is buried in the same tomb with his second mother-in-law, with whom he was very close, and his best friend, Earl King.

After death

His widow, Antoinette K-Doe, continued to operate his music club and bar, Ernie K-Doe's Mother-in-Law Lounge, which housed a life-size statue of Him. The club was severely damaged by Hurricane Katrina in late 2005 and had to shut down. With the help of the Hands on Network and the musical artist Usher Raymond, Antoinette reopened the Mother-in-Law Lounge on August 28, 2006, in its original location at 1500 N. Claiborne Avenue.

Antoinette also led a tongue-in-cheek campaign for K-Doe's election for mayor of hurricane-ravaged New Orleans in 2006, five years after his death. She is quoted as saying, "He's the only one qualified—that's my opinion."[2] Although K-Doe's name did not appear on the ballot, the campaign generated revenue from sales of T-shirts and bumper stickers. Antoinette used the proceeds from these sales for rebuilding the Mother-in-Law Lounge and helping the New Orleans Musicians' Clinic, both of which were damaged by Hurricane Katrina.

In November 2007 the British-based high street beauty store and pharmacy Boots used his 1970 performance of the song "Here Come the Girls" as the soundtrack of a Christmas TV commercial.[3] This led to the re-release of the song as single in the UK in December 2007. A new Boots commercial, with a summer theme, featuring the song was aired between June and August 2008 . The same song was also sampled on the Sugababes' single "Girls", which was then itself used in another Boots commercial in November 2008.

Antoinette died in New Orleans on February 24, 2009, Mardi Gras day, after a heart attack.[4]

Ernie K-Doe was inducted into the Louisiana Music Hall of Fame in 2009.


Ernie K Doe, "Mother-In-Law", rare TV appearance, 1996 


https://www.youtube.com/watch?v=49iEnlvEbpU 














The Wood Howlers (Band)  *22.02.



 https://www.facebook.com/wood.howlers/photos?lst=100002257761834%3A100008318043102%3A1487796844&source_ref=pb_friends_tl


The band was founded in autumn of 2013, with a strong wish to create an ”rootsy” collective sound, based on 2 guitars, harmonica with a powerful foundation of bass and drums.
Our ambition Is to strongly priority our own material.
https://www.reverbnation.com/woodhowlers




R.I.P.

 

Papa John Creach  +22.02.1994



"Papa" John Creach, bisweilen auch Creech geschrieben, (* 28. Mai 1917 in Beaver Falls, Pennsylvania; † 22. Februar 1994) war ein US-amerikanischer Geiger, der 1970 späte Berühmtheit erlangte, als er mit der Rockband Jefferson Airplane auftrat. Danach spielte er auch bei anderen Rockbands, etwa The Dinosaurs und Hot Tuna.

Creach begann 15-jährig, klassische Musik auf der Geige zu lernen. Als er 18 war, zog die Familie nach Chicago, wo Creach Gastmusiker beim Illinois Symphony Orchestra wurde, während er klassische Violine studierte. Später begann er, in Clubs mit Jazz- und R&B-Bands zu spielen, um Geld zu verdienen. Auch Kirchenmusik gehörte zu seinem Repertoire.

In den 1940ern hatte er ein eigenes Trio, das Johnny Creach Trio (Gitarre, Bass und Geige), das zunächst vor allem in Hotels auftrat, später auch in Bars und Clubs. Zu seinen weiteren Jobs gehörte eine mehrjährige Verpflichtung auf einem Kreuzfahrtschiff.

In Los Angeles lernte er Joey Covington kennen, der später Schlagzeuger bei Jefferson Airplane wurde. Covington machte ihn mit Marty Balin von Jefferson Airplane bekannt, der Creach einlud, im Oktober 1970 mit der Band in San Francisco aufzutreten. Der Erfolg führte zu einer gemeinsamen Tour und späteren Auftritten mit anderen Rockbands, darunter The Dinosaurs und vor allem Hot Tuna. 1993 war er noch einmal mit Jefferson Starship in Europa auf Tournee.

Creach hatte auch einen Auftritt in dem Kinofilm "Ein Aufstand alter Männer".

Papa John Creach (born John Henry Creach; May 28, 1917 – February 22, 1994)[1] was an American blues violinist. He played for Jefferson Airplane (1970–1975), Hot Tuna, Jefferson Starship, Jefferson Starship - The Next Generation, the San Francisco All-Stars (1979–1984), The Dinosaurs (1982–1989), and Steve Taylor. Creach recorded a number of solo albums and was a frequent guest at Grateful Dead and Charlie Daniels Band concerts. He was a regular guest at the early annual Volunteer Jams, hosted by Charlie Daniels, which exposed him to a new audience that was receptive to fiddle players.[2]
Life and career
Creach was born at Beaver Falls, Pennsylvania.[1] He began playing violin in Chicago bars when his family moved there in 1935. Later, he joined a local cabaret band called the Chocolate Music Bars, and toured the Midwest with them.[1] Moving to Los Angeles in 1945, he played in the Chi Chi Club, worked on an ocean liner, appeared in several films,[3] and performed as a duo with Nina Russell.
In 1967, Creach met and befriended drummer Joey Covington. When Covington joined the Jefferson Airplane in 1970, he introduced Creach to them, and they invited him to join Hot Tuna. Though regarded as a session musician, he remained with the band for four years, before leaving in 1974 to join Jefferson Starship and record on their first album, Dragon Fly. Creach toured with Jefferson Starship and played on the band's hit album Red Octopus in 1975. Around 1976, Creach left to pursue a solo career. Despite this, he was a guest musician on the spring 1978 Jefferson Starship tour.
A year later, Creach renewed his working relationship with Covington as a member of the San Francisco All-Stars, as well as with Covington's Airplane predecessor, Spencer Dryden, as a member of The Dinosaurs. He also continued occasional guest appearances with Hot Tuna, and was on stage at the Fillmore Auditorium in 1988 when Jack Casady and Jorma Kaukonen of Hot Tuna reunited with Paul Kantner and Grace Slick for the first time since Jefferson Airplane disbanded.
In 1992, he became one of the original members of Jefferson Starship - The Next Generation and performed with them until he succumbed to congestive heart failure on February 22, 1994. A heart condition had been causing bouts of pneumonia from continual fluid build-up in his lungs. He was 76.[4]
Jefferson Starship performed a benefit concert to raise money for his family after his death, and released tracks from their performances as the album Deep Space/Virgin Sky.

Papa John Creach - "Papa Johns Down Home Blues"


https://www.youtube.com/watch?v=PUOincYwJ7k 
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