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Sonntag, 18. Dezember 2016

18.12. Eddie „Cleanhead“ Vinson, Keith Richards, Lonnie Brooks, Pee Wee Crayton, Rod Piazza, Peg Leg Sam, Sam Andrew, Oliver Röhrscheid, Bryan James "Chas" Chandler *









1912 Peg Leg Sam*
1914 Pee Wee Crayton*
1917 Eddie „Cleanhead“ Vinson*
1933 Lonnie Brooks*
1938 Bryan James "Chas" Chandler*
1941 Sam Andrew*
1943 Keith Richards*
1947 Rod Piazza*
1967 Oliver Röhrscheid*




 

Happy Birthday

 

Eddie „Cleanhead“ Vinson  *18.12.1917



Eddie „Cleanhead“ Vinson (* 18. Dezember 1917 in Houston, Texas; † 2. Juli 1988 in Los Angeles) war ein US-amerikanischer Jazz- und Rhythm and Blues-Saxophonist, der auch als Blues-Sänger hervorgetreten ist.
Vinsons Eltern, beide Pianisten, brachten ihn früh mit Musik in Berührung. Bereits an der Highschool begann er Saxophon zu spielen. Er wurde 1935 Mitglied der Band von Chester Boone, der zu dieser Zeit auch T-Bone Walker angehörte. Von 1936 bis 1941 spielte er gemeinsam mit den Saxophonisten Arnett Cobb und Illinois Jacquet in der Band von Milt Larkin.
1941 ging er nach New York City und wurde Blues Shouter im Cootie Williams Orchestra, wo er Klassiker wie „Cherry Red“ einspielte. 1945 gründete er seine eigene Band, der auch der damals noch unbekannte John Coltrane angehörte. Hier entstanden einige seiner besten Stücke, u. a. „Kidney Stew“ und der legendäre „Cleanhead Blues“.
Kurzzeitig spielte er in der Band von Count Basie, und in den 1960er Jahren arbeitete er in der Johnny Otis Show. In den 1970er und 1980er Jahren hatte er mit seinem charakteristischen Mischstil aus Jazz und Blues vor allem in Europa Erfolg, er spielte allerdings auch in den USA ein Album mit der Gruppe Roomful of Blues und ein Live-Album mit Arnett Cobb und Alan Dawson ein.

Eddie "Cleanhead" Vinson (December 18, 1917 – July 2, 1988) was an American jump blues, jazz, bebop and R&B alto saxophonist and blues shouter.[1] He was nicknamed Cleanhead after an incident in which his hair was accidentally destroyed by lye contained in a hair straightening product.[2]
Biography
Vinson was born in Houston, Texas. He was a member of the horn section in Milton Larkin's orchestra, which he joined in the late 1930s. At various times, he sat next to Arnett Cobb, Illinois Jacquet, and Tom Archia, while other members of the band included Cedric Haywood and Wild Bill Davis. After exiting Larkin's employment in 1941, Vinson picked up a few vocal tricks while on tour with bluesman Big Bill Broonzy. He then moved to New York and joined the Cootie Williams Orchestra from 1942 to 1945, recording such tunes as "Cherry Red". Vinson struck out on his own in 1945, forming his own large band, signing with Mercury Records, and enjoying a double-sided hit in 1947 with his R&B chart-topper "Old Maid Boogie", and the song that would prove to be his signature number, "Kidney Stew Blues".[3]
Vinson's jazz leanings were probably heightened during 1952-1953, when his band included a young John Coltrane. In the late 1960s, touring in a strict jazz capacity with Jay McShann, Vinson's career took an upswing. In the early 1960s Vinson moved to Los Angeles and began working with the Johnny Otis Revue. A 1970 appearance at the Monterey Jazz Festival with Otis spurred a bit of a comeback for Vinson. Throughout the 1970s he worked high-profile blues and jazz sessions for Count Basie, Otis, Roomful of Blues, Arnett Cobb, and Buddy Tate. He also composed steadily, including "Tune Up" and "Four", both of which have been incorrectly attributed to Miles Davis.[4] Vinson recorded extensively during his fifty-odd year career and performed regularly in Europe and the U.S.


Eddie Cleanhead Vinson-Kidney Stew Blues 


 https://www.youtube.com/watch?v=0JA8TMapna8 










Keith Richards  *18.12.1943



Keith Richards (* 18. Dezember 1943 in Dartford, Grafschaft Kent, England) ist ein britischer Gitarrist und Songwriter, gelegentlich auch Sänger. Berühmtheit erlangte er als Rhythmus- und Lead-Gitarrist der Rolling Stones, für die er gemeinsam mit Mick Jagger auch den Großteil der Lieder schreibt. Viele Jahre lang nannte er sich Keith Richard.
Kindheit und Jugend
Richards wuchs als Einzelkind in Dartford, Grafschaft Kent auf. Sein Vater war Bert Richards, seine Mutter Doris Maud Lydia Richards, geborene Dupree. Als Kind sang er in einem Knabenchor, der vor Königin Elisabeth II. das Oratorium „Der Messias“ von Georg Friedrich Händel aufführte. Seit seine Mutter ihm eine Gitarre gekauft hatte, ließ ihn das Gitarrespielen nicht mehr los. Sein Großvater Theodore Dupree hatte in den 1930er Jahren in Tanzkapellen gespielt und brachte ihm das Gitarrespiel bei, unter anderem anhand klassischer spanischer Gitarrenmusik.[1]:66 ff. Als Schuljunge begegnete er Mick Jagger zum ersten Mal, verlor ihn dann aber vorübergehend aus den Augen.
Erst Ende Oktober 1961 trafen sich Richards, der inzwischen das Sidcup Art College in London besuchte, und Jagger zufällig auf dem Weg nach London wieder und kamen ins Gespräch, weil Jagger einige Blues-Platten unter dem Arm trug. Über den Bluesmusiker Alexis Korner lernten sie 1962 Brian Jones und Ian Stewart kennen. Diese Begegnung führte zur Gründung der Rolling Stones. Der erste Auftritt fand am 12. Juli 1962 im Marquee Club in London statt. Richards wohnte zeitweilig zusammen mit Mick Jagger und Brian Jones in einer Wohnung in Edith Grove, London.
Im Dezember 1962 ergänzte der Bassist Bill Wyman die Band. Als Anfang 1963 schließlich der Schlagzeuger Charlie Watts einstieg, waren die Rolling Stones in ihrer ersten Zusammensetzung komplett.
Rolling Stones
Von Anfang an trug Richards als Gitarrist maßgeblich zum Klang der Gruppe bei. Er sorgte mit Watts und Wyman für die rhythmische Grundlage, auf der sich Jones und Jagger präsentieren konnten. Nachdem zunächst Brian Jones Chef der Rolling Stones gewesen war, bildeten ab 1964 mehr und mehr Richards und Jagger das Zentrum der Band. Manager Andrew Loog Oldham ermutigte die beiden, eigene Lieder für die Band zu schreiben, die zuvor hauptsächlich Werke anderer Musiker gecovert hatte. Richards hat hunderte von Liedern geschrieben; das Komponisten-Duo Jagger-Richards gehört mit Lennon/McCartney von den Beatles und Page & Plant von Led Zeppelin zu den erfolgreichsten Songwritern in der Geschichte der Rock-Musik. Im Mai 1965 fiel Richards auf einer Tournee in einem Hotel in Clearwater, Florida, nachts ein Riff ein, den er mit Mick Jagger zum Rolling-Stones-Klassiker (I Can’t Get No) Satisfaction machte. Durch seine Freundschaft mit dem Musiker Gram Parsons (Byrds, Flying Burrito Brothers) konnte Keith Richards seine Kenntnisse der Country-Musik vertiefen, was sich auf den Stones-Alben seit 1970 deutlich bemerkbar machte.
Im Laufe der Jahre brachte sich Richards zunehmend auch als Sänger ein, nachdem er bereits regelmäßig beim Begleitgesang mitgewirkt hatte. Auf dem Album December’s Children (And Everybody’s) (1965) ist Keith Richards erstmals mit einem Solopart bei The Singer Not the Song zu hören, ebenso 1967 auf der LP Between the Buttons bei Something Happened to Me Yesterday. Schließlich sang er auf der LP Let It Bleed (1969) erstmals Leadstimme in You Got the Silver. Auf dem Album Exile on Main St. (1972), aufgenommen in Richards’ Villa Nellcote in Villefranche-sur-Mer an der Côte d’Azur, in der sich die Rolling Stones niedergelassen hatten, nachdem sie 1971 aus steuerlichen Gründen England verlassen hatten, ist Happy mit Richards als Sänger enthalten. Auch auf dem Album Goats Head Soup (1973) singt er solo: Coming down again. Ab dem Album Some Girls (1978) wurde es zur Gewohnheit, dass sich auf den Stones-Alben stets auch mindestens ein Lied mit Keith Richards als Lead-Sänger befindet.
Nach dem Ausstieg von Gitarrist Mick Taylor im Jahr 1974 (Ersatzmann für Brian Jones seit 1969) wählten die Rolling Stones Ron Wood als dessen Nachfolger, der bei der US-Tournee 1975 als Gast mitspielte und schließlich 1976 festes Bandmitglied wurde. Wood verkörpert zusammen mit Richards das Bild des typischen Rock ’n’ Rollers.
Mitte der 1980er Jahre drohten die Rolling Stones zu zerbrechen, da Mick Jagger Solo-Projekte anging und wenig Lust verspürte, mit den Stones zu arbeiten, geschweige denn auf Tour zu gehen. Das Verhältnis der Glimmer Twins war mehr als angespannt. Eine Reaktion Richards’ darauf war die Zusammenstellung der Band X-Pensive Winos. Er nahm mit ihr 1988 sein erstes Soloalbum Talk Is Cheap auf und ging auf Tournee. Der große Erfolg wollte sich weder bei Jagger noch bei Richards einstellen. Nach einer heftigen Auseinandersetzung versöhnten sie sich, schrieben auf Barbados gemeinsam Lieder für das 1989 veröffentlichte Album Steel Wheels und absolvierten mit den Rolling Stones 1989/90 die bis dahin größte Tournee der Rockgeschichte.

Keith Richards (born 18 December 1943) is an English musician, singer and songwriter, and one of the original members of the English rock band the Rolling Stones. Rolling Stone magazine credited Richards for "rock's greatest single body of riffs" on guitar and ranked him 4th on its list of 100 best guitarists.[1] Fourteen songs Richards wrote with the Rolling Stones' lead vocalist Mick Jagger are listed among Rolling Stone magazine's "500 Greatest Songs of All Time".
Early life
Keith Richards is the only child of Bertrand Richards and Doris Richards (née Dupree). He was born at Livingston Hospital in Dartford, Kent. His father was a factory worker who was injured in World War II during the Normandy invasion.[citation needed]
Richards' paternal grandparents were Socialists and civic leaders; his great-grandfather's family originated from Wales.[4][5][6] His maternal grandfather, Augustus Theodore Dupree, who toured Britain with a jazz big band, "Gus Dupree and his Boys", fostered Richards' interest in guitar.[7]
Richards' mother bought him his first guitar and he played at home, listening to recordings by Billie Holiday, Louis Armstrong, Duke Ellington and others.[8] His father, on the other hand, disparaged his son's musical enthusiasm.[9] One of Richards' first guitar heroes was Scotty Moore.[10]
Richards attended Wentworth Primary School with Mick Jagger and was his neighbour until 1954, when the family moved.[11] From 1955 to 1959 he attended Dartford Technical High School for Boys.[11][12] Recruited by Dartford Tech's choirmaster, R. W. "Jake" Clare, Richards sang in a trio of boy sopranos at, among other occasions, Westminster Abbey for Queen Elizabeth II.[13]
In 1959 Richards was expelled from Dartford Tech for truancy, and transferred to Sidcup Art College.[14] At Sidcup he was diverted from his studies proper and devoted more time to playing guitar with other students in the boys' room. At this point Richards had learned most of Chuck Berry's solos.[15]
Richards met Jagger on a train as Jagger was heading for classes at the London School of Economics.[16] The mail-order rhythm & blues albums from Chess Records by Chuck Berry and Muddy Waters that Jagger was carrying revealed a mutual interest and led to a renewal of their friendship. Along with mutual friend Dick Taylor, Jagger was singing in an amateur band: "Little Boy Blue and the Blue Boys", which Richards soon joined. The Blues Boys folded when Brian Jones, after sharing thoughts on their joint interest in the blues music, invited Mick and Keith to the Bricklayers Arms pub, where they then met Ian Stewart.[17][18]
In mid-1962 Richards had left Sidcup Art College to devote himself to music and moved into a London flat with Jagger and Jones. His parents divorced about the same time, resulting in his staying close to his mother and remaining estranged from his father until 1982.[citation needed]
After the Rolling Stones signed to Decca Records in 1963 their band manager, Andrew Loog Oldham, dropped the s from Richards' surname believing "Keith Richard" in his words "looked more pop".[19] In the early 1970s Richards re-established the s in his surname.


Chuck Berry, Eric Clapton, Keith Richards jam 
Chuck Berry - Guitar, vocals
Eric Clapton - Guitar
Keith Richards - Guitar
Steve Jordan - Drums
Johnnie Johnson - Piano
Chuck Leavell - Organ
Joey Spampinato - Bass 


https://www.youtube.com/watch?v=wzKd0aiaK4c 

 

 

Lonnie Brooks  *18.12.1933

 




Lonnie Brooks (* 18. Dezember 1933 in Dubuisson, Louisiana), eigentlich Lee Baker, Jr., ist ein US-amerikanischer Blues-Gitarrist.
Ursprünglich wollte Brooks Banjo spielen wie sein Großvater, kam jedoch bald zur Gitarre, auf der er Rock'n'Roll, Country und R&B spielte. Clifton Chenier verpflichtete ihn für die "Red Hot Louisiana Band".
In der zweiten Hälfte der 1950er nahm Brooks als Guitar Junior eine Reihe von Rock'n'Roll-Hits auf. Er war mit Sam Cooke auf Tour und blieb 1960 in Chicago hängen. Dort gab es bereits einen Guitar Junior, daher änderte er seinen Künstlernamen in Lonnie Brooks.
Brooks schloss sich der Band von Jimmy Reed an und nahm auch eigene Singles auf. 1969 erschien sein erstes Album Broke And Hungry, wieder unter dem Namen Guitar Junior, den er danach endgültig ablegte. Er entwickelte einen eigenen Stil, der als "Voodoo Blues" bezeichnet wurde.
1978 kam eine Blues-Anthologie heraus, Living Chicago Blues, die vier Stücke von Brooks enthielt und ihm zu einem Plattenvertrag verhalf. Es folgten etliche erfolgreiche Alben.
Lonnie Brooks ist auch bekannt für seine energiegeladenen Liveauftritte. Sein Sohn Ronnie Baker Brooks tritt in die Fußstapfen des Vaters. Zusammen nahmen sie 1991 den Song Like Father, Like Son auf. 2010 wurde Brooks in die Blues Hall of Fame der Blues Foundation aufgenommen.
Sein Sohn Ronnie Baker Brooks ist auch Bluesmusiker (wie auch sein Sohn Wayne Baker Brooks).

Lonnie Brooks (born Lee Baker Jr., December 18, 1933)[1] is an American blues singer and guitarist. He was born in Dubuisson, Louisiana, United States.[1] Rolling Stone stated, "His music is witty, soulful and ferociously energetic, brimming with novel harmonic turnarounds, committed vocals and simply astonishing guitar work."[2] The New York Times added, "He sings in a rowdy baritone, sliding and rasping in songs that celebrate lust, fulfilled and unfulfilled; his guitar solos are pointed and unhurried, with a tone that slices cleanly across the beat. Wearing a cowboy hat, he looks like the embodiment of a good-time bluesman."[3]
Career
He learned to play blues from his banjo-picking grandfather, but did not think about a professional career until he moved to Port Arthur, Texas in the early 1950s. There he heard live performances by Clarence "Gatemouth" Brown, T-Bone Walker, B.B. King, Long John Hunter and others and began to think about making money from his music. One day, while Brooks was strumming his guitar on his front porch in Port Arthur, Clifton Chenier heard him and offered him a job in his touring band.[citation needed]
Embarking on a solo career, he adopted the moniker of Guitar Jr. and signed with Lake Charles's Goldband label. His singles for the label included regional hit "Family Rules", which remains a favorite of the swamp pop idiom in south Louisiana and southeast Texas.[4] Other Goldband singles included "Made In The Shade" and "The Crawl" (later recorded by The Fabulous Thunderbirds).
In 1960, he moved to Chicago, Illinois. Luther Johnson was already using the name 'Guitar Junior' there, so he adopted the alternative stage name, Lonnie Brooks.[1] In Chicago, he found regular work in the West Side clubs as well as in Gary and East Chicago, Indiana and occasionally in the Rush Street North Side entertainment area. He cut a series of 45s for a variety of labels, including Chess, Chirrup, Mercury, Midas and USA Records, achieving some local radio airplay. He also supported other artists on record and live, including Jimmy Reed. In 1961 he played guitar on the double album, Jimmy Reed at Carnegie Hall.
In 1969, he recorded his first album, Broke An’ Hungry, for the Capitol label. It was produced by Wayne Shuler, son of Eddie Shuler, who had founded Goldband Records in Louisiana.
In 1974, Brooks participated in a multi-artist tour of Europe, and cut an album entitled Sweet Home Chicago for the French label Black & Blue. When he returned to Chicago, he began playing regularly at Pepper’s Hideout on the Chicago's South Side. There he attracted the attention of Bruce Iglauer, head of the fledgling Alligator Records label, who had previously seen him a number of times at the Avenue Lounge on the city’s West Side.
In 1978, Iglauer included four of Brooks’ songs (including three originals) on an anthology series entitled Living Chicago Blues, released by Alligator Records. He was signed to the label, and the following year, he released his album Bayou Lightning on the Alligator label.[5] The album won the 'Grand Prix du Disque Award' from the 1980 Montreux Jazz Festival. While in Montreux, Brooks befriended country star Roy Clark. Clark was impressed with Brooks, and he arranged for an appearance on the country music television program Hee Haw.
Since that time, Brooks has recorded exclusively for the Alligator, releasing seven albums as well as shared recordings and compilation appearances. Brooks' style, sometimes described as "voodoo blues", includes elements of Chicago blues, Louisiana blues, swamp pop and rhythm and blues. Other labels have issued pre-1978 recordings by Brooks as well as compilations of Brooks' singles.
Following the release of Bayou Lightning, Brooks began touring nationwide as well as returning to Europe. A 1982 trip to Germany resulted in an hour-long Brooks live performance on German television. His 1983 follow-up album was Hot Shot. 1986's Wound Up Tight featured a guest appearance by Brooks' most famous fan, Johnny Winter, on guitar. Rolling Stone took notice of the album, running a six-page feature on Brooks. And in 1987, BBC Radio broadcast an hour-long live performance.
By this time, Brooks' teenage son, Ronnie Baker Brooks, was touring with the band. He made his recording debut on his father's Live From Chicago—Bayou Lightning Strikes. Brooks’ 1991 release, Satisfaction Guaranteed, received major media coverage, including features and articles in The Washington Post, The Village Voice, Chicago Tribune, Los Angeles Times, Guitar World, Living Blues, Blues Revue, and many other publications.
Brooks spent the summer of 1993 on a national concert tour with B.B. King, Buddy Guy, Koko Taylor, Junior Wells and Eric Johnson. During the Chicago stop of his 1995 “From The Cradle” club tour, Eric Clapton honored Brooks by inviting the bluesman on stage for an impromptu jam at Buddy Guy's Legends club.
In 1996, Brooks released Roadhouse Rules. The album was produced in Memphis by Jim Gaines, who also produced Luther Allison, Stevie Ray Vaughan and Santana, and his son Ronnie Baker Brooks appeared again. In 1999, along with fellow Gulf Coast blues veterans Long John Hunter and Phillip Walker (both of whom he had known and played with in the 1950s in Port Arthur), Brooks released Lone Star Shootout.[6]
Brooks continues to tour in the U.S. and Europe. His sons, Ronnie Baker Brooks and Wayne Baker Brooks, are also full-time blues entertainers, fronting their own bands and touring extensively in the U.S. and abroad. Wayne Baker Brooks continues to play in his father's band as well. The Brooks' are frequent guest performers at each other's shows and have booked appearances as 'The Brooks Family'.
Besides his live and recorded performances, Brooks appeared in the films Blues Brothers 2000 and The Express and in two UK television commercials for Heineken beer. His song "Eyeballin'" was heard in Forever LuLu, and "Got Lucky Last Night" featuring Johnny Winter appeared in John Candy's Masters of Menace. He also co-authored the book Blues for Dummies, along with son Wayne Baker Brooks and music historian, guitarist, and songwriter, Cub Koda.
Brooks is a chief influence on Soul artist Reggie Sears.

Lonnie Brooks LRBC 2011 "Sweet Home Chicago" 
Legendary Rhythm & Blues Cruise, Jan 2011. Lonnie Brooks Guitar and Vocals, Ronnie Baker Brooks Guitar and Vocals, Jellybean Johnson Guitar, Carlton Armstrong Bass, Anthony Tucker Drums. "Sweet Home Chicago" (Robert Johnson)  


https://www.youtube.com/watch?v=gLuOycw-xUw 







Pee Wee Crayton  *18.12.1914

 


Pee Wee Crayton (eigentlich Connie Curtis Crayton; * 18. Dezember 1914 in Rockdale, Texas; † 25. Juni 1985 in Los Angeles, Kalifornien) war ein US-amerikanischer Blues-Sänger und Gitarrist.
Beeinflusst von T-Bone Walker schuf Crayton Hits wie Texas Hop, Pee Wee's Boogie und Poppa Stoppa. Seinen Spitznamen "Pee Wee" hatte er angeblich von keinem Geringeren als Roy Brown bekommen.
Biografie
Crayton, geboren in Rockdale (Texas), wuchs in Austin auf. In der Schulband spielte er Ukulele und Trompete. 1935 zog er von Texas nach San Francisco; später lebte er in Los Angeles. Erst ab 1944 spielte er verstärkt Gitarre, nachdem er einen Auftritt von T-Bone Walker gesehen hatte. Die beiden befreundeten sich, und T-Bone brachte Crayton die wichtigsten Kniffe auf der Gitarre bei. Schnell entwickelte er seinen eigenen unverkennbaren Stil. Aggressives Gitarrenspiel mit einer sanften Stimme wurde sein Markenzeichen und später oft kopiert.
Crayton gründete ein Trio und verdiente fortan seinen Lebensunterhalt als Musiker. Daneben spielte er in der Band von Ivory Joe Hunter, an dessen Aufnahmen er 1946 mitwirkte. 1947 entstanden Craytons erste Aufnahmen unter eigenem Namen; er unterschrieb einen Plattenvertrag bei Modern Records und hatte 1948 mit „Blues After Hours“ einen Nummer-1-Hit in den R&B-Charts. Er nahm dann bei einigen Plattenfirmen auf, u.a. bei Imperial in New Orleans, Jamie in Philadelphia und Vee-Jay Records in Chicago. Es wird berichtet, dass er der erste Blues-Gitarrist war, der eine Fender Stratocaster spielte, die ihm von Leo Fender persönlich übergeben wurde.
In den 1960er Jahren verschwand er beinahe ganz von der Bildfläche; erst 1971 veröffentlichte er bei Vanguard das Album Things I Used to Do. Danach ging es wieder etwas bergauf mit seiner Karriere. Er tourte und nahm noch einige Alben auf, bevor er 1985 einem Herzanfall erlag. Er starb in seinem Haus in Topanga nahe Los Angeles. Er liegt auf dem Inglewood Park Friedhof begraben.
Im Laufe seiner langen Karriere trat Crayton US-weit u.a. mit Big Joe Turner, Lowell Fulson, T-Bone Walker, Ray Charles, Big Maybelle und Dinah Washington auf.

Connie Curtis Crayton (December 18, 1914 – June 25, 1985),[1] known as Pee Wee Crayton, was an American R&B and blues guitarist and singer.
Career
Born in Rockdale, Texas, United States,[2] Crayton began playing guitar seriously after moving to California in 1935, later settling in San Francisco.[3] While there he absorbed the music of T-Bone Walker, but developed his own unique approach. His aggressive playing contrasted with his smooth vocal style, and was copied by many later blues guitarists.
In 1948 he signed a recording contract with Modern Records.[3] One of his first recordings was the instrumental, "Blues After Hours", which reached #1 in the Billboard R&B chart late that year.[3] Its B-side, the pop ballad "I'm Still in Love With You", and the quicker "Texas Hop", are good examples of his work.[4]
He went on to record for many other record labels in the 1950s including Imperial in New Orleans, Louisiana, Vee-Jay in Chicago and Jamie in Philadelphia. It is thought he was the first blues guitarist to use a Fender Stratocaster, given to him by Leo Fender. His album Things I Used To Do was released by Vanguard Records in 1971. He continued to tour and record in the following years.[3]
A longtime resident of Los Angeles, California, Crayton died there of a heart attack in 1985,[1] and was interred in the Inglewood Park Cemetery.

Pee Wee Crayton & his Guitar Blues After Hours (1948)











Rod Piazza  *18.12.1947

 



Rod Piazza (* 18. Dezember 1947, Riverside, Kalifornien) ist ein US-amerikanischer Bluesmundharmonikaspieler.
Leben
Ersten Kontakt mit dem Blues bekam er bereits im Alter von sieben Jahren, als er die Aufnahmen hörte, die seine um 10 Jahre bzw 12 Jahre älteren Brüder mit nach Hause brachten (Jimmy Reed, Big Joe Turner....). Sein erstes Musikinstrument war eine 4 $-Gitarre, die ihm seine Mutter kaufte. 1963 erhielt er seine erste Mundharmonika, mit der er Nummern von Slim Harpo, Buster Brown und Jimmy Reed, die er im Radio hörte, nachspielte.
Um 1965 spielte er in seiner ersten Band, „The Mystics“, ursprünglich war er als Gitarrist vorgesehen, aber bei den ersten Proben stellte sich heraus, dass es andere gab, die die Gitarre besser spielten. So wurde er als Mundharmonikaspieler und Sänger Bandmitglied. Die Gruppe spielte auf Partys und ging später nach Los Angeles, wo sie in der lokalen Klubszene auftraten. Dort wurden sie entdeckt und bei ABC Bluesway unter Vertrag genommen. Sie nannten sich jetzt „The Dirty Blues Band“. Unglücklicherweise wurden einige Bandmitglieder nach Vietnam eingezogen, und die Band löste sich auf.
Mit seiner neuen Band Bacon Fat machte er die Bekanntschaft von George „Harmonica“ Smith. Bacon Fat nahm 2 LP auf. Von 1974 an arbeitete er solo, danach gründete er die Chicago Flying Saucer Band, aus denen die Mighty Flyers hervorgingen. Eines der Gründungsmitglieder war Debra „Honey“ Solum, die er einige Jahre später heiratete. Mit den Mighty Flyers ist er auch heute noch unterwegs.

Rod Piazza (born December 18, 1947,[1] Riverside, California) is an American blues harmonica player and singer. He has been playing with his band The Mighty Flyers since 1980 which he formed with his pianist wife Honey Piazza.[2] Their boogie sound combines the styles of jump blues, West Coast blues and Chicago blues.
Biography
Piazza grew up in Southern California, where he studied blues records and perfected his harmonica work. He originally started on guitar, an instrument he began playing at the age of six or seven.[3]
In the mid 1960s, Piazza formed his first band The House of DBS, which later changed its name to the Dirty Blues Band. The band signed with ABC-Bluesway and released two albums in 1967 and 1968.[1] The band broke up in 1968, and Piazza formed Bacon Fat that year.[4] Piazza's idol and mentor, George "Harmonica" Smith joined the band and they had a "dual harp" sound. Bacon Fat released two albums the following two years. Piazza left and worked in other bands before going solo in 1974.
He formed the Chicago Flying Saucer Band the following year, which later evolved into the Mighty Flyers. The band recorded their first album in 1980. Piazza started touring and recording as Rod Piazza and the Mighty Flyers Blues Quartet, after the departure of long-time bassist Bill Stuve in the early 2000s. Piazza has recorded twenty-four studio albums between 1967 and 2009, including the live concert DVD Big Blues Party in 2005 (recorded at the Sierra Nevada Brewing Company in Chico, California). In addition, he has appeared as a guest performer on over twenty-one releases since 1968.[5] Between 1995 and 2001, Rick Holmstrom played in the Mighty Flyers.[6]
Piazza has toured blues clubs, concert venues and festivals in the US, Canada, United Kingdom, Germany, Japan and Spain, among other countries. He and his wife currently live in Riverside, California.

Rod Piazza & Dennis Gruenling 
Laurie Vosburg & 519 South's occasional harp player, the great Dennis Gruenling, jammin' with Rod Piazza at the State Theatre in New Brunswick NJ 9.24.09. 


https://www.youtube.com/watch?v=_tyfynPFH5k 










Peg Leg Sam  *18.12.1912

 

Peg Leg Sam (December 18, 1911 – October 27, 1977)[1] was an American country blues harmonicist, singer and comedian.[2] He recorded "Fox Chase" and "John Henry", and worked in medicine shows.[1] He gained his nickname following an accident whilst hoboing in 1930.[3]
BiographyBorn Arthur Jackson in Jonesville, South Carolina, United States, to David Jackson, a farmer and native of Virginia, and Emma Jackson, Arthur was the fourth of six children. His fraternal great-grandmother, Racheal Williams, was born 1810 in Colonial Virginia, and was commonly referred to as a mulatto. She may have had a Caucasian mother or father, most likely, a caucasian father, as this would have been typical for the time period. Arthur went on to marry Theo S. Jackson, who was 18 years older than him, and the mother of Herbert Miller and Katherine Miller, both natives of Tennessee. In South Carolina, Peg Leg Sam made his living busking on the street and performing in patent-medicine shows. Peg Leg Sam gave his last medicine-show performance in 1972 in North Carolina, but continued to appear at music festivals in his final years.[3]
He died in Jonesville in October 1977, at the age of 65.[1]
Documentary
A biography of Peg Leg Sam, Born for Hard Luck was released by Tom Davenport in 1976. An excerpt of the documentary appears in the French film, Le Fabuleux Destin d'Amélie Poulain.
Peg Leg Sam



 





Sam Andrew  *18.12.1941

 




Sam Houston Andrew III (December 18, 1941 – February 12, 2015) was an American musician, singer, songwriter, composer, artist and founding member and guitarist of Big Brother and the Holding Company.[2][3][4][1] During his career as musician and composer, Andrew had three platinum albums and two hit singles. His songs have been used in numerous major motion picture soundtracks and documentaries.
Music career
Andrew was born in Taft, California.[1] As the son of a military father, Andrew moved a great deal as a child. He developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes", and his own weekly TV show, an Okinawan version of American Bandstand. His early influences were Chuck Berry, Bo Diddley and Little Richard. He also listened to a great deal of Delta blues. His brother Leland Andrew frequently stated his brother was the "Benny Goodman of Japan".
Shortly after he graduated from high school, his father was transferred to Hamilton Air Force Base in northern California. It was during this period that he started attending classes at the University of San Francisco, becoming involved with the San Francisco folk music scene of the early 1960s. However it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street.
As Big Brother and the Holding Company began to gel, Andrew brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks. Until up until his final illness in early 2015 Andrew continued in his original role as the musical director of the band.
Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second – a top seller – on Columbia Records.
Andrew and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history. On September 11, 2001, Andrew was to be presented with a High Times magazine Life Time Achievement award. That day his flight to New York City was canceled, and instead he received the award the next year.
In December 1968, Andrew and Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band.[1] After about nine months and one album, I Got Dem Ol' Kozmic Blues Again Mama!, Andrew returned to Big Brother.
After Big Brother stopped performing in 1972, he moved to New York City, where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco, where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987.
During the 1990s, in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band. It toured across North America, and the spoken word quartet Theatre of Light, that besides Andrew, featured The Vagabond Poet, Tony Seldin, keyboardist Tom Constanten and harpist-pianist Elise Piliwale.
Andrew was also Music Director of the musical Love, Janis, based on the life of Janis Joplin, written and directed by Randal Myler and based on the book by Laura Joplin of the same name.
Andrew performed at the 40th Anniversary of Woodstock Concert on August 15, 2009 at Bethel Woods, New York.
Personal life and death
Andrew lived in northern California with his wife Elise Piliwale.[1] He had one daughter, Mari Andrew, from his marriage to Suzanne Thorson. He died in San Rafael, California on February 12, 2015, following complications from open-heart surgery due to a heart attack suffered ten weeks prior.
Big Brother and the Holding Company & Shommy boy - Summertime (Live at 11th In Wires Festival) 


https://www.youtube.com/watch?v=BzBYuEZ8M-E#t=12 








 


Oliver Röhrscheid  *18.12.1967

 








Die Lohmänner haben sich in der Vergangenheit rar gemacht. Als Willi Lohmann aus der Band ausgestiegen ist, hat er eine große Lücke hinterlassen. Diese galt es auszufüllen!

Ausgerechnet ein neuer Frontmann und Shouter musste her. Charisma musste der Mann haben, sein Gesang musste absolut überzeugen. Schließlich bereitet die Band einen gewaltigen Klangteppich mit den Instrumenten; Mischa Schlagzeug, Wolfgang E-Bass, Holger E-Gitarre, Sven E-Piano, sowie Bläsersektion bestehend aus Matthes Saxophon, Uli Trompete und Michael Posaune. – Und die Lohmann Kapelle hat genau so einen Frontmann gefunden!

Charisma hat er, ein großartiger Showtyp ist er und Unterhaltung als Frontmann ist genau sein Ding!

Die Rede ist von Oliver Röhrscheid. Er ist immer in Bewegung, er kann laut genauso wie leise und er reißt das Publikum vom ersten Ton an in seinen Bann.

Die Lohmann Kapelle macht Musik mit Herz und Seele. Das Zusammenspiel ist hochprofessionell. Mit Charme und Witz werden die Titel angesagt. Ein großartiges Spektrum des Repertoires an Titeln aus der  Rhythm’n Blues Ära der 50-er und 60-er Jahre. Diese Musik geht direkt in die Beine, Stillsitzen ist eigentlich unmöglich.

Es gab brilliante Gitarrensoli, knallige Bläsersätzen und wirklich aufregenden Gesang; der Bielefelder Jazzclub hatte nicht zu viel versprochen!


Kidney Stew / Lohmann Rhythm & Blues Kapelle - JC Bielefeld - 15.11.2013 - 


https://www.youtube.com/watch?t=235&v=r6wyOVAP91g 








 Bryan James "Chas" Chandler  *18.12.1938

 



Bryan James "Chas" Chandler (18 December 1938 – 17 July 1996)[1] was an English musician, record producer and manager, best known as the original bassist in the Animals . He was also known as the manager of Slade and Jimi Hendrix, about whom he was regularly interviewed until his death in 1996.

Early life

Chandler was born at 35 Second Avenue, Heaton, Newcastle upon Tyne in Northumberland U.K.[citation needed] After leaving school, he worked as a turner in the Tyneside shipyards. Having originally learned to play the guitar, he became the bass player with The Alan Price Trio in 1962.[1]

With the Animals

After Eric Burdon joined them, the Alan Price Trio was renamed the Animals. Chandler's bass lines were rarely given critical attention but some, including the opening riff of the group's 1965 hit "We Gotta Get Out of This Place" subsequently received praise.[2][3] Chandler was also the most prominent of the group's backing vocalists and did occasional songwriting with Burdon. in 1966, despite commercial success, Chandler became disillusioned with the lack of money, recalling that "We toured non-stop for three years, doing 300 gigs a year and we hardly got a penny."[1]

Jimi Hendrix and Slade

After the group split up in late 1966, Chandler turned to becoming a talent scout, artist manager, and record producer. During his final tour with the Animals that year, Chandler saw a then-unknown Jimi Hendrix play in Cafe Wha?, a Greenwich Village, New York City nightclub. Hendrix was at the time using the moniker Jimmy James. In September, Chandler convinced James to go with him to Britain,[3] which was made possible with the help of Michael Jeffery who suggested that he revert to using his actual name, and later suggested naming the band the Jimi Hendrix Experience. In Britain, Chandler recruited bassist Noel Redding and drummer Mitch Mitchell as the other members of the Experience.

Chandler was a key figure in Hendrix's rise to strong critical and commercial success. As part of his association with Hendrix, he provided somewhere for him to stay and financed the The Jimi Hendrix Experience's first single "Hey Joe", before they had a recording contract.[2] He was also instrumental in introducing Hendrix to Eric Clapton. It was through this introduction that Hendrix was given the opportunity to play with Clapton and Cream on stage.[4] It was Chandler's idea for Hendrix to set his guitar on fire, which made national news when this idea was used at a concert at the Finsbury Astoria Theatre and subsequently at the Monterey Pop festival. Hendrix's sound engineer Eddie Kramer later recalled that Chandler was very hands on with the first two Hendrix albums, adding that "he was his mentor and I think it was very necessary."[3]

By 1968, Chandler had become fed up with the recording sessions for Hendrix's album Electric Ladyland, claiming they were self-indulgent and left management services in the hands of Jeffery during the following year.[1] Chandler then went on to manage and produce the British rock band Slade[5] for twelve years, during which time they achieved six number one chart hits in the UK.

Expansion of music industry interests

Chandler bought IBC Studios which he renamed Portland Recording Studios, after the studio address of 35 Portland Place, London and ran it for four years until he sold it to Don Arden. Chandler also ran a series of record labels from the studios including Barn Records[5] and Six of the Best. He formed a music publishing agency, as well as a production company and management companies.[5]

Animals reunions

In 1977, Chandler played and recorded with the Animals during a brief reunion and he joined them again for a further revival in 1983, at which point he sold his business interests, in order to concentrate on being a musician.[5] During the early 1990s, he helped finance the development of Newcastle Arena, a ten-thousand seat sports and entertainment venue that opened in 1995.[2]

Death

Chandler died of an aortic aneurysm at Newcastle General Hospital on 17 July 1996,[6] only days after performing his final solo show. Chandler's former home at 35 Second Avenue, Heaton is remembered with a black plaque placed on the wall by Newcastle City Council, which reads: "Chas Chandler 1938–1996. Founder member of the 'Animals'. Manager of Jimi Hendrix & Slade. Co-founder of Newcastle Arena. Lived in this house 1938–1964."[7]
Family

Chandler had one son Steffan, from his first marriage. He later married Madeleine Stringer, with whom he had a son Ale, also two daughters, Elizabeth and Katherine.


The Animals - House Of The Rising Sun -1964 
The Animals foi uma banda de rock britânica dos anos 1960 formada em Newcastle upon Tyne por Eric Burdon (vocais), Alan Price (órgão), Hilton Valentine (guitarra), John Steel (bateria) e Bryan "Chas" Chandler (baixo).


https://www.youtube.com/watch?v=9xtTP3dk4EY 





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Freitag, 12. Februar 2016

12.02. Big John Wrencher, Chicago Beau, Pink Anderson, „Baby Face“ Leroy Foster, Ray Manzarek * Ishman Bracey, Screamin’ Jay Hawkins, George Mayweather, Sam Andrew +












1900 Pink Anderson*
1923 Big John Wrencher*
1923 „Baby Face“ Leroy Foster*
1939 Ray Manzarek*
1970 Ishman Bracey+
1995 George Mayweather+
2000 Screamin’ Jay Hawkins+
2015 Sam Andrew+





Happy Birthday

 

Big John Wrencher  *12.02.1923

 



Big John Wrencher (* 12. Februar 1923 in Sunflower, Sunflower County, Mississippi; † 15. Juli 1977 in Clarksdale, Mississippi, auch bekannt als One Arm John, eigentlich John Thomas Wrencher) war ein US-amerikanischer Mundharmonikaspieler und Sänger. In den 1960er Jahren spielte er oft auf dem Maxwell Street Market, in den 1970ern tourte er auch in Europa.
Schon als Kind zeigte er großes Interesse für Musik und lehrte sich in frühen Jahren Mundharmonika. In den 1940er Jahren war er als fahrender Musiker in Tennessee, Missouri, Indiana und Illinois unterwegs.[1]. Mitte des Jahrzehnts kam er in Chicago an und spielte oft auf dem Maxwell Street Market und auf Hauspartys. In den 1950er Jahren wohnte er in Detroit und spielte mit Baby Boy Warren und in einem eigenen Trio.

1958 verlor er bei einem Autounfall in Memphis seinen linken Arm. In den frühen 1960er Jahren siedelte er sich wieder in Chicago an und wurde ein Fixpunkt auf der Maxwell Street, wo er jeden Sonntag von 10 bis 15 Uhr spielte.[2] 1964 trat er im Dokumentarfilm And This Is Free auf, die Musik wurde in einer CD-Box veröffentlicht (And This Is Maxwell Street). In diesem Jahrzehnt nahm er für Testament auf, als Musiker in Robert Nighthawks Band.

1973 und 1974 war er mit dem Chicago Blues Festival und den American Blues Legends auf Europatournee, bei der Tournee 1974 nahm er in London ein Album für das Big Bear-Label auf, bei dem ihn Eddie Taylor und seine Band begleiteten.

Bei einem Familienbesuch 1977 starb Big Joe Wrencher an einem Herzinfarkt in Clarksdale, Mississippi.

Big John Wrencher (February 12, 1923 - July 15, 1977), also known as One Arm John, was an American blues harmonica player and singer, well known for playing on Maxwell Street Market, Chicago in the 1960s, and who later toured Europe in the 1970s.[1]
Biography
John Thomas Wrencher was born in Sunflower, Mississippi, United States. He became interested in music as a child, and taught himself to play harmonica at an early age, and from the early 1940s was working as an itinerant musician in Tennessee, Missouri, Indiana, and Illinois.[1] By the mid-1940s he had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude "Blue Smitty" Smith and John Henry Barbee.[2] In the 1950s he moved to Detroit, where he worked with singer/guitarist Baby Boy Warren, and formed his own trio to work in the Detroit and Clarksdale, Mississippi areas.[1]
In 1958 Wrencher lost his left arm as a result of a car accident outside Memphis, Tennessee.[1] By the early 1960s he had settled in Chicago, where he became a fixture on Maxwell Street Market, in particular playing from 10am to 3pm on Sundays.[3] In 1964 he appeared in a documentary film about Maxwell Street, titled And This Is Free;[1] performances by Wrencher recorded in the process of making the film were eventually issued on the three CD set And This Is Maxwell Street. During the 1960s he recorded for the Testament label backing Robert Nighthawk, and as part of the Chicago String Band.[4] In 1969 he recorded for Barrelhouse Records, backed by guitarist Little Buddy Thomas and drummer Playboy Vinson, who formed his Maxwell Street band of the time. The resulting album, Maxwell Street Alley Blues, was described as "superlative in every regard" by Cub Koda at Allmusic.[5] Wrencher toured Europe with the Chicago Blues Festival in 1973 and with the American Blues Legends in 1974, and during the latter tour recorded an album in London for Big Bear Records, backed by guitarist Eddie Taylor and his band.[1]
During a trip to Mississippi to visit his family in July 1977, Wrencher died suddenly of a heart attack in Wade Walton's barber shop in Clarksdale, Mississippi.


Chicago Beau  *13.02.1949

 



Chicago Beau (* 13. Februar 1949 in Chicago, Illinois als Lincoln T. Beauchamp, junior) ist ein amerikanischer Bluesmusiker (Bluesharp, Gesang), Musikproduzent und Autor.
Chicago Beau war seit seinem zehnten Lebensjahr zunächst Steptänzer, der von Jimmy Payne ausgebildet wurde, und nahm bis zum 15. Lebensjahr an vielen Cabaret-Shows teil. Dann gab ihm Billy Boy Arnold Harmonika-Unterricht; seinen Künstlernamen erhielt er von Muddy Waters. Seitdem er 17 Jahre alt war, trat er in kleinen Clubs und in Lagern sowie als Straßenmusiker auf, nicht nur in seiner Heimatstadt, sondern auch in Neuenglandstaaten und in Kanada, um dann in Amsterdam und in Paris zu arbeiten. In Paris begegnete er Archie Shepp, der ihn mit einem weiteren Mundharmonikaspieler, Julio Finn, an den Aufnahmen seines Creativ-Jazz-Klassikers Blasé , des Albums Pitchin Can und eines weiteren Albums mit Philly Joe Jones und Anthony Braxton beteiligte. Kurz darauf zog ihn auch das Art Ensemble of Chicago zu Auftritten und Aufnahmen (Certain Blacks, 1970) heran.

In den nächsten Jahrzehnten nahm Chicago Beau mit eigenen Bands, aber auch mit seinem Lehrer Billy Boy Arnold und mit Cal Massey, Pinetop Perkins, Fontella Bass, James Carter, Frank Zappa, Sunnyland Slim, Famoudou Don Moye sowie mit dem südafrikanischen Amakhono We Sinto Choir auf. In den 1990er Jahren war er mit seiner eigenen Gruppe, aber auch mit dem Art Ensemble of Chicago auf Europatournee.

Als Musikproduzent nahm er in Chicago Musiker wie Junior Wells, Valerie Wellington, Billy Branch, Willie Kent, Deitra Farr oder Tommy McCracken auf. 1988 gründete er den Verlag Literati Internazionale, der sich dem Schreiben über Blues und Jazz sowie dem Multikulturalismus widmete und neben Büchern auch Zeitschriften veröffentlichte. Er verfasste drei Bücher.

Chicago Beau erhielt den Clio Award für seine Musik, die Anfang der 1990er Jahre in der Kabelfernseh-Kampagne der Chicago Bulls verwendet wurde.

 Bluesman Lincoln McGraw-Beauchamp, or Chicago Beau, as he is known in local and international blues circles, grew up in the 50s in a boardinghouse near 39th and Ellis, a place he recalls as "a house of blues." The building was populated with hustlers, drug dealers, prostitutes, and gamblers. The landlady ran a numbers operation on the first floor; her son was a junkie who lived in the attic. The tenants shared one kitchen, which served as a center of gambling, boozing, and carousing. Beauchamp remembers his eyes being level with the kitchen table. He saw women in colorful dresses and elaborate hats with veils who smoked cigarettes in ornate holders and crossed their legs, dangling high-heeled shoes from their toes; men in double-breasted suits with betting tickets stuck in the bands of their Stetson hats swayed to the bebop that flowed incessantly from a record player. These people lived by their wits. They fascinated Lincoln. And a blues club they frequented down the street filled him with wonder.
Today Beauchamp lives in Wicker Park and stays busy as a blues harmonica player, record producer, publisher, writer, and lecturer. His new book, Blues Stories, is a collection of essays, articles, poetry, and interviews with other blues players. In his preface--rich with autobiographical anecdotes, including scenes from the boardinghouse--he establishes the theme that informs the rest of the text: freedom and dignity through creative adventure and cultural expression.
Some of the book's material originally appeared in two magazines that Beauchamp publishes and edits: The Original Chicago Blues Annual and Literati International, the latter a semiannual journal of African American arts. Chicago Beau, who says he was given his moniker by Muddy Waters, has always considered the "blues" a cultural whole made up of a variety of elements, including jazz, poetry, theater, and African dance. Blues Stories is drawn from his various lines of work, but is above all a proclamation of his devotion to the blues.
That devotion started early. Beauchamp's godmother gave him a set of harmonicas when he was 12. His father--who had come off a southern plantation and gone on to become an attorney--disapproved of musicians, viewing them as drug addicts. He tried to discourage his son's musical aspirations. But when one of young Lincoln's baby-sitters took him to the Sanctified Church on the south side, where he witnessed an intense display of wildly celebratory gospel music and dancing, he was hooked. A musician named Billy Boy Arnold taught him, at age 14, the fundamentals of playing the blues.
In Blues Stories Beauchamp tells of leaving Chicago at age 17 "to play the blues and embrace a life of adventure and risks." He writes of landing first in Boston, drifting then to Montreal, Quebec City, San Francisco, and eventually New York. A natural raconteur, Beauchamp happily romanticizes his own history. In the preface he tells of hitting a winning streak shooting craps in Manhattan one night in 1969. As the story goes, he and companion Julio Finn counted the take after the game: $3,800. "My brother," Beauchamp said, "tomorrow we leave for Paris."
Paris became the first in a long itinerary of international cities where Beauchamp has since worked as a musician, poet, writer, and lecturer. Piano player Memphis Slim, who at the time of Beauchamp's arrival was also working in Paris, helped guide the 20-year-old through the unfamiliar city's maze of narrow streets. He also allowed the young harmonica player to join him onstage, introducing him to audiences and friends as a guest artist. This was the break Beauchamp needed to start his career.
He still plays mostly overseas, where, he says, audiences consider blues an art form and the money is better. His portfolio of press clippings is dominated by articles from French, Italian, and Japanese publications. "We were part of an era now exhausted," Beauchamp writes in Blues Stories. "No longer does youth take to the road, no longer does youth in America shout." A similar sentiment becomes central to the book, as he and other senior blues people express frustration at the younger generation's inevitable lack of interest in their values, music, and culture.
Sitting in Kiki's Bistro, a French restaurant in River North that's one of his current haunts, Beauchamp recalls a vibrant scene in Paris in the late 60s and early 70s--cafes filled with energetic, able, and enthused black artists and musicians who were always collaborating on projects. He laments the absence of such passion here in Chicago, and, echoing his father, blames drugs for lassitude and indifference among the players. Polemical harangues, like adventure stories, are staples of Beau's social and literary discourse.
"Cocaine is the drug of choice here," he says. "So many local blues people are messed up on it, and they're unable to take care of business." He says cocaine has left a depressing haze hanging over the Chicago blues scene: "It's not a healthy environment, and it's not conducive to creativity." Most blues musicians today don't write new material, he says, preferring instead to endlessly rehash a short list of old songs, not even playing them correctly.
Alcohol has done its part too. In an introduction to his interview with pianist and songwriter Eddie Boyd Beauchamp writes: "There are a few Blues players today who have to be literally led to the stage and propped up to the microphone because they are so drunk. Others have suffered violent death and injury due to drunkenness."
Also interviewed are senior bluesmen Junior Wells and Pinetop Perkins--who, like Beauchamp, have traveled the world playing the blues. We learn that in the late 60s Wells was hired by the State Department, under Hubert Humphrey, to tour the world giving cultural presentations of the blues. He visited Africa, Australia, and Vietnam, among other places.
The lectures Beauchamp has given--at institutions such as the University of Copenhagen, the Sorbonne, and Chicago's Field and DuSable museums--have titles like "Blues as Literature," and "Blues as a Social and Political Condition." He also has taught a course in Blues as Literature at Columbia College. But he worries that not enough of his peers are doing their part to sustain blues culture.
Beauchamp and Wells think that black idols like Michael Jordan have sold out their responsibilities as role models. "Heroes with all that money never address the cultural issues," Beauchamp says. "They'll talk about gym shoes or some goofy cereal before they'll ever utter anything positive for our young people regarding our culture and dignity."
Wells says young blacks "don't want to be bothered with the blues, but the white boys imitating the blues [get] richer and richer."
Beauchamp acknowledges, perhaps reluctantly, the contribution rap has made to the evolving black cultural body, but resents it as the music that has stolen young people's attentions away from the blues. In one of his Blues Stories poems, "The Poet's Bitter Observation," Beauchamp writes, "If the people are not taught to curate their own culture, then they will always be in a quandary about their identity."
Like many of Beauchamp's writing projects, Blues Stories is self-published. The book has more than its share of typos and sometimes betrays the lack of a good editor, but it is a compelling read and serves well as a chronicle of a culture. Beau will be reading from Blues Stories and playing harmonica with guitarist Pete Crawford, Thursday, February 25, at Barnes & Noble, 659 W. Diversey. The program starts at 7 PM and it's free. For more information call 871-9004.




Pink Anderson  *12.02.1900

 






Pink Anderson and son "Little Pink Anderson" in the 1960s



Pinkney „Pink“ Anderson (* 12. Februar 1900 in Spartanburg, South Carolina; † 12. Oktober 1974 in Spartanburg, South Carolina) war ein US-amerikanischer Blues-Musiker.

Er verdiente jahrelang seinen Lebensunterhalt bei einem Quacksalber, der durch die Lande fuhr, um den Menschen angebliche Wundermedizin zu verkaufen, und für den er musizierte, um die Aufmerksamkeit der Leute auf den „Zauberdoktor“ zu lenken.

Erst in den 1950er-Jahren machte Pink Anderson seine ersten professionellen Aufnahmen, abgesehen von einigen Aufnahmen mit Simmie Dooley in den 20er-Jahren. Zudem hatte er einen Auftritt im Film The Bluesmen (1963).
Syd Barrett setzte den Namen seiner Band Pink Floyd aus den Vornamen von Pink Anderson und Floyd Council zusammen, von denen er im Hüllentext von Paul Oliver zu der im Jahr 1962 erschienenen Blind Boy Fuller LP Philips BBL-7512 gelesen hatte: „Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council -- these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys.“

Pinkney "Pink" Anderson (February 12, 1900 – October 12, 1974[1]) was an American blues singer and guitarist.
Life and career
He was born in Laurens, South Carolina. After being raised in nearby Greenville and Spartanburg, he joined Dr. Frank Kerr of the Indian Remedy Company in 1914 to entertain the crowds while Kerr tried to sell a concoction purported to have medicinal qualities.[2]
He still "went out" when he could with Leo "Chief Thundercloud" Kahdot (of the Potawatomi native Americans) and his medicine show, often with the Jonesville, South Carolina based harmonica-player Arthur "Peg Leg Sam" Jackson. In May 1950, Anderson was recorded by folklorist Paul Clayton at the Virginia State Fair.
Anderson recorded an album in the early 1960s and performed at some live venues.[3] He appeared in the 1963 film The Bluesmen. He reduced his activities in the late 1960s after a stroke.[4] Attempts by folklorist Peter B. Lowry in 1970 to get Anderson on tape were not successful, although apparently he could occasionally summon up some of his past abilities. A final tour took place in the early 1970s with the aid of Roy Book Binder, one of his "students", taking him to Boston and New York.
He died in October 1974, of a heart attack at the age of 74. He is interred at Lincoln Memorial Gardens in Spartanburg.[1] Anderson's son, known as Little Pink Anderson (b. July 13, 1954[5]), is currently a bluesman living in Vermillion, South Dakota.[6]
The Pink in Pink Floyd
Syd Barrett, of English progressive rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Pink Anderson and North Carolina bluesman, Floyd Council.[3] Barrett noticed the names in the liner notes of a 1962 Blind Boy Fuller album (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."

 
Pink Anderson - I Had My Fun (Going Down Slow)




 

 

„Baby Face“ Leroy Foster  *12.02.1923


http://myweb.clemson.edu/~campber/parkway.html

„Baby Face“ Leroy Foster (* 12. Februar 1923 in Algoma, Mississippi; † 26. Mai 1958 in Chicago) war ein US-amerikanischer Blues-Gitarrist, Sänger und Schlagzeuger.
Leroy Foster gehörte zu den Pionieren des Chicagoer Nachkriegsblues, der ab 1945 in der Stadt entstand. Foster wirkte auch an den Sessions für das kurzlebige Label Tempo-Tone mit, bei denen er mit Muddy Waters, Sunnyland Slim und Jimmy Rogers spielte. Er spielte auch mit John Lee „Sonny Boy“ Williamson. Seine ersten Aufnahmen entstanden um 1945/46 mit dem Pianisten Lee Brown und James Clark (für Columbia). Erste Aufnahmen unter eigenem Namen spielte er 1948 für Aristocrat Records ein; zwei Stücke mit Muddy Waters. Leroy Foster, der neben der Gitarre gleichzeitig auch Bass Drum und Hi-Hat mit seinen Füßen spielte, war auch als Sänger aktiv. Anfang 1950 entstanden die letzten Aufnahmen mit Waters für Parkway Records (Rollin' and Tumblin'.) Seine zwei für Tempo-Tone entstandenen Nummern nahm er erneut auf, Red Headed Woman und Boll Weevil. Foster wirkte auch als Schlagzeuger bei Aufnahmen von Memphis Minnie mit. Nachdem er die Muddy Waters-Band verlassen hatte, arbeitete er 1950, 1951 und 1952 mit eigenen Formationen bei drei Sessions für J.O.B. Records und wirkte bei Aufnahmen von Mildred Richards und Snooky Pryor 1950 bei JOB mit. 1950 spielte er auch bei der Debüt-Session von J. B. Lenoir, die später bei Chess Records erschien und begleitete Sunnyland Slim bei Aufnahmen für dessen Label Sunny. 1952 nahm Foster erneut unter eigenem Namen auf; die Stück blieben jedoch zunächst unveröffentlicht. Alkoholismus schränkte seine Arbeitsmöglichkeiten ein; er starb am 26. Mai 1958 in Chicago.

"Baby Face" Leroy Foster (February 1, 1923 – May 26, 1958) was an American blues singer, drummer and guitarist, active in Chicago from the mid-1940s until the late 1950s. He was a significant figure in the development of the post-war electric Chicago blues sound, most notably as a member of the Muddy Waters band during its formative years.[1]
Early life
Foster was born in Algoma, Mississippi, United States. He moved to Chicago in the mid-1940s, and by 1946 was working with pianist Sunnyland Slim and harmonica player John Lee "Sonny Boy" Williamson.[2] He was introduced to singer and guitarist Muddy Waters by an acquaintance Waters met at a recording session in 1946, and was soon playing guitar and drums in Waters’ band, along with guitar and harmonica player Jimmy Rogers,[3] with the band later joined by Little Walter on harmonica. Calling themselves the Headhunters, the trio were known for going from club to club and “cutting” (i.e. engaging in musical duels with) other bands.[1]
First recordings
Foster’s first recordings were made with pianist Lee Brown in 1945 for J. Mayo Williams' Chicago label. In 1946, he appeared on another session with Lee Brown and recorded with James "Beale Street" Clark for Columbia. He also accompanied Sunnyland Slim on a 1947 or 1948 session for the Opera label.[2] Further recordings followed, both under his own name and backing Sunnyland Slim, Muddy Waters, Little Walter and pianist Johnny Jones, before his most notable session, for the Parkway label in 1950.
The Parkway session
This session featured the personnel of Muddy Waters' band of the time: Foster, Waters, Little Walter and (on two tracks only, since he was late for the session), Jimmy Rogers.[4] Four singles were released from the session, two by Foster and two by Little Walter. One of the singles, the two-part "Rollin' and Tumblin'" was notable enough to be reviewed, unusually for a down home blues release, in the Chicago Defender by Edward Myers, who described it as having "the sound and beat of African chant".[2] The track featured only Foster’s drumming and singing, Walter’s harmonica and Waters’ slide guitar, with hummed ensemble vocals on one side. Unfortunately, Waters’ guitar playing and backup singing were distinctive enough for it to come to the attention of Leonard Chess of Chess Records, who had Waters under an exclusive recording contract. As a result, Waters was made to record his own version of the song for the larger Chess label in order to "kill" the Parkway recording.[5]
Later career and death
After the Parkway session, Foster left Waters’ band, possibly in the hope of a solo career resulting from the releases on Parkway, but unfortunately the label soon folded. Afterwards, Foster recorded a further three sessions under his own name for the JOB label between 1950 and 1953, but died from a heart attack, possibly as a result of alcoholism, at the age of 35 in 1958.[2][6]
Foster was buried at Fern Oak Cemetery in Griffith, Indiana.[7] In 2012 the Killer Blues Headstone Project, a nonprofit organization, placed a headstone on Foster's unmarked grave.[8]
Influences and performing style
Foster sang in a style influenced by Sonny Boy Williamson and Dr. Clayton,[9] and while he played guitar and drums competently, the talents for which he was popular have been described as “drinking, singing and clowning”.






Ray Manzarek  *12.02.1939




Raymond Daniel „Ray“ Manzarek (eigentlich Raymond Manczarek; * 12. Februar 1939 in Chicago, Illinois, USA; † 20. Mai 2013 in Rosenheim, Deutschland) war ein US-amerikanischer Musiker und Schriftsteller. Bekannt wurde er als Organist der Rockgruppe The Doors.
Leben
Manzarek wurde 1939 als Sohn einer polnischstämmigen Einwandererfamilie, in der dritten Generation in den Vereinigten Staaten, in Chicago geboren. Schon früh begann er mit klassischen Klavierstunden – wohl eher im Kontext einer bürgerlichen Erziehung – und seine Begabung bildete sich langsam heraus.
Nach seinem College-Abschluss 1960 beschloss Manzarek, an der University of California in Los Angeles zu studieren, wo er Jim Morrison kennenlernte. Die aufstrebenden Intellektuellen schlossen schnell Freundschaft, Morrison bewohnte sogar einige Zeit mit Ray und dessen Freundin Dorothy dieselbe Wohnung. Manzarek machte in dieser Zeit erste ausgiebige Drogenerfahrungen: Vornehmlich konsumierte er Marihuana, allerdings auch das aufkommende LSD.
Nach dem Tod Morrisons und der Auflösung der Band versuchte auch Ray Manzarek sich als Solo-Interpret zu verwirklichen, hatte allerdings keinen großen Erfolg. Erwähnen ließe sich beispielsweise das Album The Golden Scarab (1974), seine Zusammenarbeit mit Nite City oder die elektronische Adaption der Carmina Burana (1983).
Im Jahr 2002 gründete Manzarek zusammen mit Robby Krieger, Ty Dennis und dem Frontmann der Band The Cult, Ian Astbury die Band The Doors of the 21st Century, die sich nach einem abermaligen Rechtsstreit mit John Densmore und den Eltern von Jim Morrison im Jahr 2005 „Riders on the Storm“ nannte.[1][2] Zuletzt traten Manzarek und Krieger als Ray Manzarek and Robby Krieger of The Doors auf.
Aufgrund eines Gallengangskarzinoms ließ sich Manzarek von Friedrich Douwes in der St.-Georg-Klinik in Bad Aibling behandeln. Angesichts seines schlechten Zustands wurde er in eine Klinik in Rosenheim verlegt, wo er im Alter von 74 Jahren an den Folgen seiner Krankheit verstarb.[3][4]
Zitat
    „Die Gegenwart ist doch entsetzlich. Wir leben in genau dem zynischen Alptraum, vor dem wir in den Sechzigern immer gewarnt hatten.“

– Ray Manzarek: Pressekonferenz im Sommer 1997.

Raymond Daniel Manczarek Jr. (February 12, 1939 – May 20, 2013), known as Ray Manzarek, was an American musician, singer, producer, film director, and author, best known as a founding member and keyboardist of The Doors from 1965 to 1973. He was a co-founding member of Nite City from 1977 to 1978, and of Manzarek–Krieger from 2001 to his death.
Biography
Early life and career
Manzarek was of Polish descent, born and raised on the South Side of Chicago, Illinois, as were his parents, Helena and Raymond Manzarek, Sr.[1] Growing up, he took private piano lessons from Bruno Michelotti and others. He originally wanted to play basketball, but he only wanted to play power forward or center. When he was sixteen his coach insisted either he play guard or not at all and he quit the team. Manzarek said later if it was not for that ultimatum, he might never have been with the Doors. He went to Everett Elementary School on South Bell Street and attended St. Rita High School in Chicago.[2] He graduated from DePaul University with a degree in economics and played in many shows at the school.
From 1962 to 1965, he studied in the Department of Cinematography at the University of California, Los Angeles (UCLA), where he met film student Jim Morrison. At UCLA, he also met Dorothy Fujikawa, whom he married. At the time Manzarek was in a band called Rick and the Ravens with his brothers Rick and Jim.[3] Forty days after finishing film school, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of "Moonlight Drive", "My Eyes Have Seen You" and "Summer's Almost Gone". Manzarek liked the songs and co-founded the Doors with Morrison at that moment.
Manzarek met drummer John Densmore and guitarist Robby Krieger at a Transcendental Meditation lecture. Densmore says, "There wouldn't be any Doors without Maharishi."[4]
In January 1966, the Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, "Nobody ever came in the place...an occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together." The same day the Doors were fired from the London Fog, they were hired to be the house band of the Whisky a Go Go. Their first performance at the Whisky was with the group Them.[5]
The Doors' first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia's drop list. At that point, they asked to be released from their contract. After a few months of live gigs, Jac Holzman "rediscovered" the Doors and signed them to Elektra Records.
The Doors lacked a bassist, so Manzarek usually played the bass parts on a Fender Rhodes PianoBass. His signature sound is that of the Vox Continental combo organ, an instrument used by many other psychedelic rock bands of the era. He later used a Gibson G-101 Kalamazoo combo organ (which looks like a Farfisa) because the Continental's plastic keys frequently broke, according to Manzarek.
Manzarek occasionally sang for the Doors, including the live recording "Close To You" and on the B-side of "Love Her Madly," "You Need Meat (Don't Go No Further)." He also sang on the last two Doors albums, recorded after Morrison's death, Other Voices and Full Circle. Additionally, he provided one of several guitar parts on the song "Been Down So Long."
Later career and influence
Manzarek played in several groups after the Doors, including Nite City.[5] He recorded a rock adaptation of Carl Orff's Carmina Burana with Philip Glass, played with Iggy Pop, backed one track on the eponymous 1987 album Echo & the Bunnymen, backed San Francisco poet Michael McClure's poetry readings and did improvisational composition with poet Michael C. Ford.[6] He also worked extensively with "Hearts of Fire" screenwriter and former SRC front man Scott Richardson[7] on a series of spoken word and blues recordings entitled "Tornado Souvenirs".
Manzarek produced Los Angeles, the 1980 inaugural album of the punk band X,[8] also contributing on keyboards.[9]
His memoir, Light My Fire: My Life with The Doors, was published in 1998. The Poet in Exile (2001) is a novel exploring the urban legend that Jim Morrison may have faked his death. Manzarek's second novel, Snake Moon, released in April 2006, is a Civil War ghost story.
In 2000, a collaboration poetry album entitled Freshly Dug was released with British singer, poet, actor and pioneer Punk rocker Darryl Read. Read had previously worked with Manzarek on the Beat Existentialist album in 1994, and their last poetical and musical collaboration was in 2007 with the album Bleeding Paradise.
Also in 2000, he co-wrote, directed the film Love Her Madly,[10] which was credited to a story idea by Jim Morrison.[11] The film was shown at the closing night of the 2004 Santa Cruz Film Festival,[12] but otherwise received limited distribution and critical review.
In 2006, he collaborated with composer and trumpeter Bal. The album that resulted, Atonal Head, is an exploration in the realm of electronica. The two musicians integrated jazz, rock, ethnic and classical music into their computer-based creations.
On August 4, 2007, Manzarek hosted a program on BBC Radio 2 about the 40th anniversary of the recording of "Light My Fire" and the group's musical and spiritual influences.
In April 2009, Manzarek and Robby Krieger appeared as special guests for Daryl Hall's monthly concert webcast Live From Daryl's House. They performed several Doors tunes ("People Are Strange", "The Crystal Ship", "Roadhouse Blues" and "Break on Through (To the Other Side)") with Hall providing lead vocals.
After living many years in Hollywood, Manzarek moved to Napa County, California, to a house that he remodeled extensively.[13] In his last years he played with local bands in the Napa area.[14]
In 2009, Manzarek collaborated with "Weird Al" Yankovic, by playing keyboards on the single "Craigslist", which is a pastiche of The Doors.[15] On the day of Manzarek's death, Yankovic published a personal video of this studio session which he said had been an "extreme honor" and "one of the absolute high points of my life".[16]
Manzarek was a co-producer on a few tracks for Universal Recording artist Michael Barber. A track appeared on the Internet, titled "Be Ok", on Barber's Universal Records debut.
In May 2010, Manzarek recorded with slide guitarist Roy Rogers in Studio D in Sausalito. Their album, Translucent Blues, released in mid-2011, was ranked No. 3 on the Top 100 Roots Rock Albums of 2011 by The Roots Music Report.[17]
In February 2012, Manzarek recorded Breakn' a Sweat with DJ Skrillex and his fellow members Robby Krieger and John Densmore.
Personal life and death
Manzarek married Dorothy Aiko Fujikawa in Los Angeles on December 21, 1967, with Jim Morrison and his long time companion, Pamela Courson, as witnesses. Manzarek and Fujikawa remained married until his death. They had a son, Pablo, and three grandchildren.[8]
Around early 2013, he was diagnosed with a rare cancer called Cholangiocarcinoma (bile duct cancer) and traveled to Germany for special treatment. On May 20, 2013, Manzarek died at a hospital in Rosenheim, Germany, at the age of 74.[18][19] Robby Krieger said, "I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today. I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him."[19] John Densmore said, "There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother."[20]
Greg Harris, President and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek's death that "The world of rock 'n' roll lost one of its greats with the passing of Ray Manzarek."[21] Harris also said that "he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the '60s. Such memorable tracks as 'Light My Fire', 'People are Strange' and 'Hello, I Love You' – to name but a few – owe much to Manzarek's innovative playing."[22] At 9:31 on May 21, The Whiskey a Go Go and other clubs that the Doors played, dimmed their lights in his memory. An invitation-only memorial service (Ray's celebration of life) was held on June 9 in the Napa Opera House.


RAY MANZAREK-RIDERS ON THE STORM 


https://www.youtube.com/watch?v=3deQXzV-qTk 




The doors & Scott Stapp - Riders on the storm 


https://www.youtube.com/watch?v=dluxUtK2yqk 



The Doors featuring Pat Monahan - Love Me Two Times


https://www.youtube.com/watch?v=vVFv6HSbhA8 





R.I.P.

 

Ishman Bracey  +12.02.1970

 

Tommy Johnson.....................................Ishman Bracey


Ishman Bracey (* 9. Januar 1901 in Byram, Mississippi; † 12. Februar 1970 in Jackson, Mississippi), bisweilen auch Ishmon Bracey genannt, war ein US-amerikanischer Blues-Sänger und Gitarrist. Er gilt als einer der bedeutendsten Vertreter des Delta Blues, zusammen mit Blues-Legenden wie Charlie Patton, Tommy Johnson, Papa Charlie McCoy und Skip James. Bracey lernte das Gitarrespielen von Reverend "Mississippi" Ruben Lacy. Bereits früh spielte er auf Festen und in Juke Joints. 1928 machte er zusammen mit Charlie McCoy Aufnahmen für Victor, 1929 mit den "New Orleans Nehi Boys" für Paramount. Im ganzen nahm er 12 Stücke auf, vier davon liegen auch in Alternativaufnahmen vor. Zwei weitere Titel sind bekannt, Low Down Blues und Run to Me at Night, jedoch verschollen.

Auch nach seiner kurzen Plattenkarriere trat Bracey weiterhin auf, oft zusammen mit Tommy Johnson. In den 1940ern wurde er religiös und spielte keinen Blues mehr, auch als er Ende der 1950er "wiederentdeckt" wurde. Allerdings gab er über die frühe Blues-Szene Auskunft und trug zur Wiederentdeckung von Skip James bei.

Ishman Bracey starb 1970 in Jackson, Mississippi.

Ishmon Bracey (January 9, 1901 – February 12, 1970[1]) was an American blues singer and guitarist from Mississippi, considered one of the most important early delta blues performers. With Tommy Johnson, he was the center of a small Jackson, Mississippi group of blues musicians in the 1920s. His name is incorrectly spelled "Ishman" on almost all of his records and in most older sources.[2] [3]
Biography
Bracey was born in Byram, Mississippi, and started playing at local dances and parties around 1917. He also worked as a waterboy on the Illinois Central Railroad.[1] He first recorded in Memphis in 1928 for the Victor label, with Charlie McCoy on second guitar, recording two sessions in February and August that year.[4]
At that time his style had not fully formed and his performances varied considerably, probably in his attempts to become more commercially successful. Bracey's blues "Saturday Blues" and "Left Alone Blues", used interesting variations in the usual three line verse form. Bracey was one of the few Mississippi bluesmen who sang with a nasal tone without embellishment. In "Saturday Blues" he used one of the conventional infidelity themes, but he changed the form of the verses to fit a newer melodic concept. His lyrics loosen up enough to sing about skin creams and powder advertised as being able to lighten dark skin.[citation needed]
He recorded again in 1931 for Paramount Records with a group called the New Orleans Nehi Boys, which included guitarist Charles Taylor. Bracey's total recorded output is only 16 songs, and original copies of his 78-rpm records are among the most valued items sought by blues collectors. "Trouble Hearted Blues" and "Left Alone Blues" are his best known songs.[1]
He was an associate of Tommy Johnson, and the pair performed together in medicine shows in the 1930s. By the time he was "rediscovered" in the late 1950s, he had become a preacher and a performer of religious songs, and was uninterested in recording or discussing his time as a blues performer. However, he did help in the rediscovery of his contemporary Skip James.

 'Trouble Hearted Blues' ISHMAN BRACEY (1928) Delta Blues Guitar Legend


 https://www.youtube.com/watch?v=eKSaWJiV1_Y&x-yt-cl=84503534&x-yt-ts=1421914688





Screamin’ Jay Hawkins  +12.02.2000

 



Jalacy Hawkins, besser bekannt unter dem Namen Screamin' Jay Hawkins (* 18. Juli 1929 in Cleveland, Ohio, USA; † 12. Februar 2000 in Neuilly-sur-Seine, Frankreich) war ein US-amerikanischer Blues-Sänger, der für seine ausgefallenen Auftritte und Songs wie I Put a Spell on You und Constipation Blues bekannt ist.
Hawkins wollte ursprünglich Opernsänger werden und gab daher Paul Robeson und Enrico Caruso als frühe Einflüsse an. Allerdings waren seine Bemühungen in diese Richtung nicht von Erfolg gekrönt, und er begann seine Karriere als Bluessänger und Pianist.

Während des Zweiten Weltkrieges diente er in der US Army im pazifischen Ozean. Hauptsächlich als Entertainer, obwohl er behauptete, Kriegsgefangener gewesen zu sein. Hawkins war ein ausgezeichneter Boxer. Im Jahre 1949 hielt er den Mittelgewichtstitel von Alaska.

1951 tat er sich für eine Weile mit dem Gitarristen Tiny Grimes zusammen und nahm einige Songs mit ihm für Atlantic Records auf. Als er begann als Solo-Künstler aufzutreten, legte er sich eine ausgefallene Garderobe zu, welche etwa Leopardenfelle, rotes Leder und breitkrempige Hüte umfasste. Legendär wurden die Auftritte bei denen er sich im brennenden Sarg auf die Bühne tragen ließ. Ebenso legendär sind seine übrigen Requisiten und Bühneneffekte geworden, die mit der Symbolik des Voodoo spielten und Vorbild für mehrere Generationen von „Schock-Rockern“ waren: z.B. Gehstock, (Plastik-)Schlangen, aber auch „Henry“, ein rauchender und sprechender Totenschädel, sowie zahlreiche wegweisende Pyro-Effekte.
Seine erfolgreichste Veröffentlichung war I Put a Spell on You. Das Lied wurde in die The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll aufgenommen. Hawkins spielte das von ihm selbst geschriebene Lied mehrfach ein. Die erste Aufnahme entstand Ende 1955 für Grand Records; sie verkaufte sich nur mäßig. Im Laufe des Jahres 1956 wechselte Hawkins zu OKeh Records, einem Tochterunternehmen von Columbia. In seiner ersten OKeh-Session, am 12.September 1956, entstand eine weitere Version des Liedes, die schließlich weltbekannt wurde. Hawkins berichtete später, er und seine Musiker seien bei der Aufnahme vollständig betrunken gewesen.[1] Durch das „Schreien, Rufen und Grunzen“ (Hawkins) der Betrunkenen sei die Aufnahme „etwas Besonderes“ geworden.

Anzumerken ist, dass der Song in den 1950er Jahren durch die US-Radiostationen boykottiert wurde, sich aber trotzdem sehr gut verkaufte. Der Song wurde von zahlreichen namhaften Künstlern gecovert, darunter The Animals, Creedence Clearwater Revival, Nina Simone, Them, The Who, Joe Cocker, Marilyn Manson, Katie Melua sowie von Shane MacGowan and Friends (unter anderem Nick Cave, Bobby Gillespie, Mick Jones, Johnny Depp, Glen Matlock und Chrissie Hynde) als Benefiz-Download-Single im März 2010 für die Opfer des Erdbebens in Haiti.

Eine Neuaufnahme in digitaler Tonqualität wurde 1991 auf dem Sampler Back to Blues II veröffentlicht.

Später distanzierte sich Hawkins von seinem Lied. Er habe ein Monster geschaffen, dessen Leben er nun führen müsse. Seine Versuche, weniger exzentrische Lieder zu produzieren, waren wenig erfolgreich. Das Publikum und auch die Veranstalter bestanden üblicherweise darauf, dass Hawkins seinen inzwischen typischen Stil auf die Bühne brachte.
Hawkins hatte etliche weitere „Hits“, z. B. Constipation Blues (der lautstarke Verdauungsprobleme zum Thema hat), Orange Colored Sky und Feast of the Mau Mau, welches von den Geschichten über den Kannibalismus der kenianischen Mau-Mau-Rebellen profitierte. Allerdings wurde keines dieser Stücke so erfolgreich wie I Put a Spell on You.

Ende der 1950er und 1960er hielt sich Hawkins für längere Zeit im selbstgewählten Exil auf Hawaii auf. Während der 60er und 70er Jahre nahm er zwar auch weiterhin Platten auf, tourte aber vorwiegend durch Europa, wo er sehr populär war. In den USA blieb der Erfolg aus, bis der Regisseur Jim Jarmusch I Put a Spell on You in Soundtrack und Handlung des Filmes Stranger than Paradise (1983) unterbrachte und Hawkins später eine Rolle in Mystery Train gab, wo dieser einen in einen auffallend roten Anzug gewandeten lakonischen Nachtportier in einem schäbigen Motel in Memphis spielt, der u.a. (ironischerweise?) dem Portiersjungen rät, sich neu einzukleiden: "You look like a damned shimpansee ... The clothes make the man ... ." Diese Rolle führte zu einigen weiteren Filmauftritten, wie etwa in Álex de la Iglesias Perdita Durango, wo er Adolfo, den Gehilfen des Santero-Priesters Dolorosa spielt und worin dessen Stück „I'm Lonely“ die Schlussszene des Films untermalt. Einen weiteren Auftritt bekam er in Bill Dukes Adaption von Chester Himes A Rage In Harlem.

Seine 1957 veröffentlichte Single Frenzy war im Jahre 1996 auf dem Sampler Songs in the Key of X: Music From and Inspired by The X-Files enthalten. Dieses Lied unterlegte die Folge Humbug aus der 2. Staffel von Akte X.

Im Jahre 1991 kam das Album Black Music For White People heraus. Es enthielt ein Cover des von Tom Waits geschriebenen Lieds Heart Attack and Vine. Hawkins’ Version wurde im Laufe des Jahres in einer europäischen Levi’s-Werbung benutzt, doch Waits hatte niemals eine Erlaubnis zur Nutzung erteilt und es kam zu einem Rechtsstreit. Das Stück Ice Cream Man, welches der Blues-Gitarrist John Brim komponiert hatte, wurde außerdem zuvor schon von Tom Waits (1973) und Van Halen (1978) gecovert.

Während dieser Zeit tourte Hawkins auch mit The Clash und Nick Cave und wurde nicht nur bei Blues-Festivals zu einer festen Größe, sondern trat auch des Öfteren bei Filmfestivals auf.

Am 12. Februar 2000 starb Hawkins und hinterließ eine Vielzahl von Kindern, die von vielen verschiedenen Frauen stammten. Etwa 55 Kinder sind bekannt; einige Quellen berichten von bis zu 75 Kindern. Zu seinen Freundinnen gehörten Bea Arthur und Claire Roca.

Jalacy Hawkins (July 18, 1929 – February 12, 2000), better known by the stage name Screamin' Jay Hawkins, was an American rhythm and blues musician, singer, and actor. Famed chiefly for his powerful, operatic vocal delivery, and wildly theatrical performances of songs such as "I Put a Spell on You", he sometimes used macabre props onstage, making him an early pioneer of shock rock.[1]
Early life
Born and raised in Cleveland, Ohio, Hawkins studied classical piano as a child and learned guitar in his twenties.[2] His initial goal was to become an opera singer (Hawkins has cited Paul Robeson as his musical idol in interviews),[3] but when his initial ambitions failed he began his career as a conventional blues singer and pianist.
Hawkins was an avid and formidable boxer. In 1949, he was the middleweight boxing champion of Alaska.[4] In 1951, he joined guitarist Tiny Grimes's band, and was subsequently featured on some of Grimes's recordings.[3] When Hawkins became a solo performer, he often performed in a stylish wardrobe of leopard skins, red leather and wild hats.
Career
Hawkins' most successful recording, "I Put a Spell on You" (1956), was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. According to the AllMusic Guide to the Blues, "Hawkins originally envisioned the tune as a refined ballad."[3] The entire band was intoxicated during a recording session where "Hawkins screamed, grunted, and gurgled his way through the tune with utter drunken abandon."[3] The resulting performance was no ballad but instead a "raw, guttural track" that became his greatest commercial success and reportedly surpassed a million copies in sales,[5][6] although it failed to make the Billboard pop or R&B charts.[7][8]
The performance was mesmerizing, although Hawkins himself blacked out and was unable to remember the session.[6] Afterward he had to relearn the song from the recorded version.[6] Meanwhile the record label released a second version of the single, removing most of the grunts that had embellished the original performance; this was in response to complaints about the recording's overt sexuality.[6] Nonetheless it was banned from radio in some areas.
Soon after the release of "I Put a Spell on You", radio disc jockey Alan Freed offered Hawkins $300 to emerge from a coffin onstage.[5] Hawkins accepted and soon created an outlandish stage persona in which performances began with the coffin and included "gold and leopardskin costumes and notable voodoo stage props, such as his smoking skull on a stick – named Henry – and rubber snakes."[5] These props were suggestive of voodoo, but also presented with comic overtones that invited comparison to "a black Vincent Price."[2][6]
Later career
Hawkins' later releases included "Constipation Blues" (which included a spoken introduction by Hawkins in which he states he wrote the song because no one had written a blues song before about "real pain"), "Orange Colored Sky", and "Feast of the Mau Mau". Nothing he released, however, had the monumental success of "I Put a Spell on You". In fact, "Constipation Blues" has been described as "gross".[9] In Paris in 1999 and at the Taste of Chicago festival, he actually performed the song with a toilet onstage.[10]
He continued to tour and record through the 1960s and 1970s, particularly in Europe, where he was very popular. He appeared in performance (as himself) in the Alan Freed bio-pic American Hot Wax in 1978. Subsequently, filmmaker Jim Jarmusch featured "I Put a Spell on You" on the soundtrack – and deep in the plot – of his film Stranger Than Paradise (1983) and then Hawkins himself as a hotel night clerk in his Mystery Train and in roles in Álex de la Iglesia's Perdita Durango and Bill Duke's adaptation of Chester Himes' A Rage in Harlem.
His 1957 single "Frenzy" (found on the early 1980s compilation of the same name) was included in the compilation CD, Songs in the Key of X: Music from and Inspired by the X-Files, in 1996.[11] This song was featured in the show's Season 2 episode "Humbug". It was also covered by the band Batmobile.[citation needed] "I Put a Spell on You" was featured during the show and over the credits of Episode 303 of The Simpsons.[12]
In 1983, Hawkins relocated to the New York area. In 1984 and 1985, Hawkins collaborated with garage rockers The Fuzztones, resulting in "Screamin' Jay Hawkins and The Fuzztones Live" album recorded at Irving Plaza in December 1984. They perform in the 1986 movie Joey.[13]
In 1990, Hawkins performed the song Sirens Burnin', which was featured in the 1990 horror film Night Angel.
In July 1991, Hawkins released his album Black Music for White People.[14] The record features covers of two Tom Waits compositions: "Heart Attack and Vine"[15] (which, later that year, was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit),[16] and "Ice Cream Man" (which, contrary to popular belief,[citation needed] is a Waits original, and not a cover of the John Brim classic).[17] Hawkins also covered the Waits song "Whistlin' Past the Graveyard", for his album Somethin' Funny Goin' On. In 1993, his version of "Heart Attack and Vine" became his only UK hit, reaching #42 on the UK singles chart.[18]
When Dread Zeppelin recorded their "disco" album, It's Not Unusual in 1992, producer Jah Paul Jo asked Hawkins to guest. He performed the songs "Jungle Boogie" and "Disco Inferno". He also toured with The Clash and Nick Cave during this period, and not only became a fixture of blues festivals, but appeared at many film festivals as well, including the Telluride Film Festival premier of Mystery Train.
Personal life
Hawkins had six marriages; his French last wife was 33 at his death.[19] Singing partner Shoutin' Pat Newborn stabbed him in jealousy when he married Virginia Sabellona.[19] He had three children with his first wife and estimated the number of his illegitimate children at between 50 and 70.[19] After his death, his friend and biographer Maral Nigolian set up a website to trace these children,[20] identifying 33, at least 12 of whom met at a 2001 reunion.[19][21]
Death
Hawkins died on February 12, 2000, after surgery to treat an aneurysm.[22]
Influence
Although Hawkins was not a major success as a recording artist, his highly theatrical performances from "I Put a Spell On You" onward earned him a steady career as a live performer for decades afterward, and influenced subsequent acts.[2] He opened for Fats Domino, Tiny Grimes and the Rolling Stones.[2] This exposure in turn influenced rock groups such as The Cramps, Screaming Lord Sutch, Black Sabbath, Arthur Brown, Dread Zeppelin, The Horrors, Marilyn Manson, Tom Waits, Alice Cooper and Glenn Danzig.

 
Screamin Jay Hawkins - I Put A Spell On You







George Mayweather  +12.02.1995 

 


http://www.cduniverse.com/search/xx/music/pid/1126795/a/whup+it!+whup+it!.htm


b. 27 September 1928, Montgomery, Alabama, USA, d. 12 February 1995, Boston, Massachusetts, USA. Like Little Sonny Willis, young George received his first harmonica as a Christmas present when he was six, along with an apple and an orange. Although he heard John Lee ‘Sonny Boy’ Williamson’s records, he was largely a self-taught musician until he arrived in Chicago in September 1949. There he befriended Little Walter, who helped him with harp selection and how to find keys in different positions. In 1951 he linked up with his next-door neighbour, J.B. Hutto, and with Eddie ‘Porkchop’ Hines on percussion, the group played at weekends on Maxwell Street market. However, work was scarce, so Mayweather joined Bo Diddley and for a time alternated between both groups. He then formed a group with Eddie Taylor, refusing Walter’s offer to replace him in Muddy Waters’ band. He recorded with J.B. Hutto on the Chance session that produced ‘Combination Boogie’ and ‘Pet Cream Man’, and with Eddie Taylor on ‘You’ll Always Have A Home’ and ‘Don’t Knock At My Door’. In the late 80s Mayweather moved to Boston where he established himself at the 1369 Jazz Club. Whup It!, recorded with the nucleus of Luther Johnson’s Magic Rockers, consists almost entirely of Chicago blues standards by Howlin’ Wolf, Muddy Waters, Jimmy Rogers and Little Walter, and just one original, ‘Cheatin’ On Me’. It represents an accurate and fitting memorial. He died of liver cancer in 1995.  




Dusty Brown - Well You Know I Love You  

Inspiradora armónica en este tema, en la foto de izquierda a derecha: Big Leon Brooks, Good Rockin Charles, Dusty Brown, 'Earring' George Mayweather.


https://www.youtube.com/watch?v=Gni_dZh3C54&x-yt-cl=84838260&x-yt-ts=1422327029   







Sam Andrew  +12.02.2015
Sam Houston Andrew III (December 18, 1941 – February 12, 2015) was an American musician, singer, songwriter, composer, artist and founding member and guitarist of Big Brother and the Holding Company.[2][3][4][1] During his career as musician and composer, Andrew had three platinum albums and two hit singles. His songs have been used in numerous major motion picture soundtracks and documentaries.
Music career
Andrew was born in Taft, California.[1] As the son of a military father, Andrew moved a great deal as a child. He developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes", and his own weekly TV show, an Okinawan version of American Bandstand. His early influences were Chuck Berry, Bo Diddley and Little Richard. He also listened to a great deal of Delta blues. His brother Leland Andrew frequently stated his brother was the "Benny Goodman of Japan".
Shortly after he graduated from high school, his father was transferred to Hamilton Air Force Base in northern California. It was during this period that he started attending classes at the University of San Francisco, becoming involved with the San Francisco folk music scene of the early 1960s. However it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street.
As Big Brother and the Holding Company began to gel, Andrew brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks. Until up until his final illness in early 2015 Andrew continued in his original role as the musical director of the band.
Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second – a top seller – on Columbia Records.
Andrew and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history. On September 11, 2001, Andrew was to be presented with a High Times magazine Life Time Achievement award. That day his flight to New York City was canceled, and instead he received the award the next year.
In December 1968, Andrew and Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band.[1] After about nine months and one album, I Got Dem Ol' Kozmic Blues Again Mama!, Andrew returned to Big Brother.
After Big Brother stopped performing in 1972, he moved to New York City, where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco, where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987.
During the 1990s, in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band. It toured across North America, and the spoken word quartet Theatre of Light, that besides Andrew, featured The Vagabond Poet, Tony Seldin, keyboardist Tom Constanten and harpist-pianist Elise Piliwale.
Andrew was also Music Director of the musical Love, Janis, based on the life of Janis Joplin, written and directed by Randal Myler and based on the book by Laura Joplin of the same name.
Andrew performed at the 40th Anniversary of Woodstock Concert on August 15, 2009 at Bethel Woods, New York.
Personal life and death
Andrew lived in northern California with his wife Elise Piliwale.[1] He had one daughter, Mari Andrew, from his marriage to Suzanne Thorson. He died in San Rafael, California on February 12, 2015, following complications from open-heart surgery due to a heart attack suffered ten weeks prior.
Big Brother and the Holding Company & Shommy boy - Summertime (Live at 11th In Wires Festival) 


https://www.youtube.com/watch?v=BzBYuEZ8M-E#t=12 

 
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