1939 King Ernest Baker*
1965 Rick Holmstrom*
1976 Melvin "Lil' Son" Jackson+
2012 Peter Palus „Pete“ Cosey+
Happy Birthday
King Ernest Baker *30.05.1939
"King Ernest" Baker (May 30, 1939 – March 5, 2000)[1] was an American blues and soul singer. He recorded "I Feel Alright" and "That's When I Woke Up."[1] Baker was born in Natchez, Mississippi, and died in a car crash in 2000,[1] just after finishing recording an album.
His first professional outing was in 1958 with Byther Smith at Wynn's Lounge in Chicago, Illinois. Baker credited Smith with giving him his start as a professional.[2]
He became a popular Chicago club attraction, and performed variously with Tyrone Davis, Buddy Guy and Howlin' Wolf.[3] Due to some disappointments in his career he got a job with the Sheriffs department. He stayed there for 14 years until retiring at 55, and then returned to show business.[2]
In 2000, Baker had just finished recording his second album, Blues Got Soul.[4] He had a listen to the CD on March 2, and a few days later while on his way back to Los Angeles he was killed in a car crash, near to Santa Maria, California on Highway 101.
King Ernest - I Resign
Rick Holmstrom *30.05.1965
Rick Holmstrom (born May 30, 1965) is an American electric blues and rhythm and blues guitarist, singer and songwriter.[1] Holmstrom has previously worked with William Clarke, Johnny Dyer, and Rod Piazza. He is currently the bandleader for Mavis Staples.[2] In addition, Holmstrom has played and recorded with Jimmy Rogers, Billy Boy Arnold, Jody Williams, and R. L. Burnside.[3]One critic observed of Holmstrom, "he delivers music with technical savvy and traditional stylings, without sacrificing originality and pure adventure".
Holmstrom was born in Fairbanks, Alaska, United States, and his father was a DJ.[1] After relocating to Southern California, and while attending college in Redlands, California, he joined a local blues group.[3] Holmstrom also went to blues concerts, where he played guitar with Smokey Wilson and Junior Watson.[1]
He joined William Clarke's backing band, and played both lead and rhythm guitar for three years up to 1988. That same year, Holmstrom suffered a significant tragedy in his family, as his father and younger sister were killed in a whitewater rafting accident in Alaska's Wrangell-St. Elias National Park.[5][6] Later joining forces with Johnny Dyer, Holmstrom played on his albums, Listen Up (1994) and Shake It! (1995). He moved on to join Rod Piazza's backing group, the Mighty Flyers and, in 1996, released his first solo album, Lookout! on Black Top Records.[1] It was an instrumental affair, about which one reviewer noted "Holmstrom's inventive ideas are top-notch, making each track stand mightily on its own".[7]
However, Holmstrom continued to perform with Piazza, and help him record Tough and Tender (1997). By 2000, Holmstrom's second solo effort, Gonna Get Wild was released on Tone-Cool Records, and he stayed long enough with Piazza's backing ensemble to participate on Beyond the Source (2001). Holmstrom's next release, Hydraulic Groove (2002) is one of his most daring efforts, where he used loops and samples, and incorporated elements of acid jazz/nu-jazz, funk and trip-hop to his blues, featuring guest performances of John Medeski and DJ Logic.[1] Hydraulic Groove peaked at #9 in the Billboard Top Blues Albums chart.[8] In 2005, Holmstrom played at the Dark Season Blues festival. Holmstrom turned to record production duties for other musicians before, in 2006, releasing Live at the Cafe Boogaloo.[1]
Holmstrom switched record label to M.C. Records, and in 2007 issued Late in the Night. In 2012, he toured as the guitarist in Mavis Staples' backing band.
Born and raised in Fairbanks, Alaska, Rick Holmstrom grew up surrounded by the sounds of 50's rock, 60's surf, folk, and the Beatles. Though appropriately impressed when his disc jockey father took him to see Chuck Berry at an early age, young Rick nevertheless preferred sports through his teen years.
It wasn't until senior year at college that guitar began to take over; when Holmstrom joined a band playing blues and roots at parties. A band mate introduced him to records by blues artists like Lightnin' Hopkins, Muddy Waters, et al, setting the young musician on a quest.
Graduating in 1987, Holmstrom moved to Los Angeles, where he was a freelance reporter by day, haunting the city's funkiest blues clubs at night to observe, sit-in and learn. His budding talent was recognized by William Clarke, who took him on tour. Eventually the road won out over reporting and Holmstrom became fully immersed in the blues scene, working with local luminaries Johnny Dyer, Smokey Wilson and Rod Piazza, as well as legends Jimmy Rogers, Billy Boy Arnold and R.L. Burnside.
In 1996 he released the first record under his own name, Lookout!, on the New Orleans label Black Top, followed at the millennium's turn by Gonna Get Wild on Tone Cool. 2002's Hydraulic Groove, also on Tone Cool, turned the blues world on its head with its blues meets hip hop grooves, electronica and DJ remixes. "I'm glad I made that record," says Holmstrom, "even though it pissed a lot of folks off. I was a young, up and coming traditional blues hope, so I dashed those hopes with that record, but that's cool, I'm proud of it. It has its flaws, for sure, but it was heartfelt."
In 2007 Holmstrom released Late in The Night on M.C. Records. Gone were the hip hop and electronica elements, but the guitarist was not done pushing the limits of the blues, this time experimenting with the genre's song forms. "I love blues," Holmstrom says, "I listen to Lightnin' and Gatemouth and Little Walter all the time, but I'm interested in blues feeling, phrasing and tones without necessarily using the same 12 bar forms over and over."
Just as Holmstrom and long time band mates Stephen Hodges and Jeff Turmes were about to hit the road in support of Late in The Night, the call came to back up gospel/soul legend Mavis Staples, fresh off the release of her critically acclaimed We'll Never Turn Back record (Anti, 2007). It was a no-brainer; Holmstrom and his Late in The Night trio hit the road with Staples, accompanying her on Live: Hope at the Hideout for Anti Records in 2008. Smart enough not to mess with a great thing, producer Jeff Tweedy (Wilco) used the now tight as nails trio to back Staples on her Grammy award winning You Are Not Alone (Anti, 2010).
This same trio brought their telepathic interplay into the studio for Holmstrom's latest M.C. Records recording, Cruel Sunrise, combining it with the guitarist's evolved songwriting and evocative vision to make Cruel Sunrise his best record yet.
"We've been around songwriters like Jeff Tweedy, Neko Case, Buddy Miller, Billy Bragg and Jolie Holland while recording and touring with Mavis," says Holmstrom, "and I figured there's gotta be a way to combine that kind of literate writing with low down blues feeling to create songs that regular music fans might like, in addition to blues aficionados."
No doubt both aficionados and regular fans will appreciate Cruel Sunrise, a record that honors Rick Holmstrom's past as a blues master while pointing to his future as a songwriter to be reckoned with.
It wasn't until senior year at college that guitar began to take over; when Holmstrom joined a band playing blues and roots at parties. A band mate introduced him to records by blues artists like Lightnin' Hopkins, Muddy Waters, et al, setting the young musician on a quest.
Graduating in 1987, Holmstrom moved to Los Angeles, where he was a freelance reporter by day, haunting the city's funkiest blues clubs at night to observe, sit-in and learn. His budding talent was recognized by William Clarke, who took him on tour. Eventually the road won out over reporting and Holmstrom became fully immersed in the blues scene, working with local luminaries Johnny Dyer, Smokey Wilson and Rod Piazza, as well as legends Jimmy Rogers, Billy Boy Arnold and R.L. Burnside.
In 1996 he released the first record under his own name, Lookout!, on the New Orleans label Black Top, followed at the millennium's turn by Gonna Get Wild on Tone Cool. 2002's Hydraulic Groove, also on Tone Cool, turned the blues world on its head with its blues meets hip hop grooves, electronica and DJ remixes. "I'm glad I made that record," says Holmstrom, "even though it pissed a lot of folks off. I was a young, up and coming traditional blues hope, so I dashed those hopes with that record, but that's cool, I'm proud of it. It has its flaws, for sure, but it was heartfelt."
In 2007 Holmstrom released Late in The Night on M.C. Records. Gone were the hip hop and electronica elements, but the guitarist was not done pushing the limits of the blues, this time experimenting with the genre's song forms. "I love blues," Holmstrom says, "I listen to Lightnin' and Gatemouth and Little Walter all the time, but I'm interested in blues feeling, phrasing and tones without necessarily using the same 12 bar forms over and over."
Just as Holmstrom and long time band mates Stephen Hodges and Jeff Turmes were about to hit the road in support of Late in The Night, the call came to back up gospel/soul legend Mavis Staples, fresh off the release of her critically acclaimed We'll Never Turn Back record (Anti, 2007). It was a no-brainer; Holmstrom and his Late in The Night trio hit the road with Staples, accompanying her on Live: Hope at the Hideout for Anti Records in 2008. Smart enough not to mess with a great thing, producer Jeff Tweedy (Wilco) used the now tight as nails trio to back Staples on her Grammy award winning You Are Not Alone (Anti, 2010).
This same trio brought their telepathic interplay into the studio for Holmstrom's latest M.C. Records recording, Cruel Sunrise, combining it with the guitarist's evolved songwriting and evocative vision to make Cruel Sunrise his best record yet.
"We've been around songwriters like Jeff Tweedy, Neko Case, Buddy Miller, Billy Bragg and Jolie Holland while recording and touring with Mavis," says Holmstrom, "and I figured there's gotta be a way to combine that kind of literate writing with low down blues feeling to create songs that regular music fans might like, in addition to blues aficionados."
No doubt both aficionados and regular fans will appreciate Cruel Sunrise, a record that honors Rick Holmstrom's past as a blues master while pointing to his future as a songwriter to be reckoned with.
Rick Holmstrom - Fooled Ya
R.I.P.
Melvin "Lil' Son" Jackson +30.05.1976
https://www.youtube.com/watch?v=vFbNMuwBBVI
Melvin "Lil' Son" Jackson (August 16, 1915, Tyler, Texas - May 30, 1976, Dallas[1]) was an American blues guitarist. He was a contemporary of Lightnin' Hopkins.
Jackson's mother played gospel guitar, and he played early on in a gospel group called the Blue Eagle Four.[1] He trained to be a mechanic and did a stint in the Army during World War II, then decided to pursue a career in blues music.[1] He recorded a demo and sent it to Bill Quinn, the owner of Gold Star Records, in 1946.[2] Quinn signed him to a recording contract and released "Freedom Train Blues" in 1948, which became a nationwide hit in the U.S.[1] He recorded for Imperial Records between 1950 and 1954, both as a solo artist and with a backing band.[1] His 1950 tune "Rockin' and Rollin" was recast by later musicians as "Rock Me Baby".[1][3]
He was hurt in a car crash in the middle of the 1950s and gave up his music career, returning to work as a mechanic.[2] In 1960 he released albums for Arhoolie and Limelight Records, but he did not make a major comeback in the wake of the blues revival.[2] He died of cancer in 1976 in Dallas, at the age of 60.
B.B. King covered Jackson's "I Got to Leave This Woman", on his 2000 album, Makin' Love Is Good for You. Eric Clapton covered Jackson's "Travelin' Alone", on his 2010 album, Clapton.
Jackson's mother played gospel guitar, and he played early on in a gospel group called the Blue Eagle Four.[1] He trained to be a mechanic and did a stint in the Army during World War II, then decided to pursue a career in blues music.[1] He recorded a demo and sent it to Bill Quinn, the owner of Gold Star Records, in 1946.[2] Quinn signed him to a recording contract and released "Freedom Train Blues" in 1948, which became a nationwide hit in the U.S.[1] He recorded for Imperial Records between 1950 and 1954, both as a solo artist and with a backing band.[1] His 1950 tune "Rockin' and Rollin" was recast by later musicians as "Rock Me Baby".[1][3]
He was hurt in a car crash in the middle of the 1950s and gave up his music career, returning to work as a mechanic.[2] In 1960 he released albums for Arhoolie and Limelight Records, but he did not make a major comeback in the wake of the blues revival.[2] He died of cancer in 1976 in Dallas, at the age of 60.
B.B. King covered Jackson's "I Got to Leave This Woman", on his 2000 album, Makin' Love Is Good for You. Eric Clapton covered Jackson's "Travelin' Alone", on his 2010 album, Clapton.
Peter Palus „Pete“ Cosey +30.05.2012
Peter Palus „Pete“ Cosey (* 9. Oktober 1943 in Chicago, Illinois; † 30. Mai 2012 ebenda)[1] war ein amerikanischer R & B- und Fusiongitarrist, der insbesondere als Mitglied der Band von Miles Davis zwischen 1973 und 1975 bekannt wurde und stilistisch prägend war.
Leben und Wirken
Cosey, dessen Eltern Musiker waren, lernte zunächst das Geigenspiel. Nach dem Tod seines Vaters zog er mit seiner Mutter nach Phoenix (Arizona), wo er als Jugendlicher Gitarre lernte.[2] Seit 1965 arbeitete er zunächst als Studiomusiker für Chess Records und begleitete dort Fontella Bass, Etta James, die Rotary Connection, Muddy Waters (Electric Mud, After the Rain) und Howlin’ Wolf (The Howlin' Wolf Album), der sein verzerrtes Spiel ablehnte.[3] Auch gehörte er zu Phil Cohrans Artistic Heritage Ensemble[4] und den am Afro Jazz interessierten The Pharoahs; seit den 1960er Jahren war er daher Mitglied der Association for the Advancement of Creative Musicians (AACM).[5] Auch spielte er in einer Band um Maurice White, aus der später Earth, Wind & Fire entstand.
MIt Miles Davis tourte er ab 1973 weltweit und war an dessen Alben Get Up with It, Dark Magus, Agharta und Pangaea (sowie an einigen Tracks von The Complete On the Corner Sessions) beteiligt. Davis schrieb in seiner Autobiografie über die Zusammenarbeit mit Cosey, dieser sei genau der Richtige gewesen für den Sound von Jimi Hendrix und Muddy Waters, den er damals gesucht habe. Coseys Soundvorstellung und Instrumentaltechniken beeinflussten Gitarristen wie Henry Kaiser, Vernon Reid, Elliott Sharp und Robert Quine.[3]
Nach 1975 hat die Jazzwelt von Cosey zunächst „so gut wie nichts mehr gehört, allenfalls noch eine kleine Gastrolle bei Herbie Hancocks Future Shock.“[6] Erst auf Akira Sakatas Album Fisherman's.com (2000, mit Sakata, Bill Laswell und Hamid Drake) wurde er wieder präsent. Dabei hatte er 1987 im Trio Power Tools (mit Bassist Melvin Gibbs und Drummer Ronald Shannon Jackson) Bill Frisell ersetzt.[7] Mit einer Repertoireband, The Children of Agharta, zu der unter anderem Gary Bartz, John Stubblefield, Matt Rubano und J T Lewis gehörte, begann er 2001, die Werke von Davis aus der Mitte der 1970er Jahre zu interpretieren. Auch ist er als Solist auf einem Album von Greg Tates Band Burnt Sugar (The Rites, einem Dirigat von Butch Morris) und auf Bob Beldens amerikanisch-indischen Tributalbum Miles from India zu hören; auf der letztgenannten Doppel-CD ist er an insgesamt fünf Stücken beteiligt – Ife (Fast), It's about That Time, Miles Runs the Voodoo Down, Great Expectations und Ife (Slow). Auch ist er auf Bill Laswells Method of Defiance: Inamorata auf zwei Stücken mit Graham Haynes bzw. Byard Lancaster vertreten.
2004 war Cosey in der Folge Godfathers and Sons von Martin Scorseses Dokumentarreihe The Blues zu sehen, in der Marshall Chess und Chuck D (von Public Enemy) die einst am Album Electric Mud beteiligten Musiker zusammenrufen, um wieder gemeinsam im Studio zu spielen: Neben Cosey waren das die Bläser Gene Barge und Don Myrick, Gitarrenkollege Phil Upchurch, Bassist Louis Satterfield und Drummer Morris Jennings.
Cosey starb an den Folgen einer Operation.
Pete Cosey (born Peter Palus Cosey, October 9, 1943 – May 30, 2012)[1][2] was an American guitarist most famous for playing with Miles Davis' band between 1973 and 1975. His fiercely flanged and distorted guitar bore comparisons to Jimi Hendrix. Cosey kept a low profile for much of his career and released no solo recorded works.[3] His unique guitar rhythms were showcased on Davis' albums Get Up with It (1974), Agharta (1975), Pangaea (1976), Dark Magus (1977), and The Complete On the Corner Sessions (2007).[4]
Biography
Early life
Cosey was born in Chicago, Illinois.[5] He was the only child of a musical family. His father and mother wrote for Louis Jordan and Eddie "Cleanhead" Vinson and his father played for Sidney Bechet and Josephine Baker. Following the death of his father, Cosey and his mother moved to Phoenix, Arizona, where he spent his teenage years and began developing his guitar style.[5]
Early career
Prior to joining the Miles Davis band in 1973, Cosey was a busy session guitarist with Chess Records, playing on records by Etta James, Fontella Bass ("Rescue Me"),[5] Rotary Connection, Howlin' Wolf (The Howlin' Wolf Album) and Muddy Waters (Electric Mud, After the Rain).
Cosey was also an early member of Chicago's Association for the Advancement of Creative Musicians (AACM).[6] He was an early member of the Pharaohs, and a group with drummer Maurice White and bassist Louis Satterfield that eventually evolved into Earth, Wind & Fire. Some of his pre-Miles jazz playing is available on albums by Phil Cohran's Artistic Heritage Ensemble.
After joining Davis, Cosey performed on the albums Get Up with It, Dark Magus, Agharta and Pangaea. By 1975, Cosey had developed a remarkably advanced guitar approach—involving numerous alternate tunings, guitars restrung in unusual patterns and a post-Hendrix palette of distortion, wah-wah and guitar synth effects—that has influenced many adventurous guitarists, including Henry Kaiser and Vernon Reid.
Following the 1975 break-up of the Miles Davis band, Cosey largely disappeared from public view. He played on the title track of Herbie Hancock's Future Shock album, but did not appear on record again until Akira Sakata's album Fisherman's.com (with Sakata, Bill Laswell and Hamid Drake) in 2000. Throughout the '80s, he was involved in a number of Chicago- and New York-based groups with various musicians, but no recordings have been released. In 1987, he replaced Bill Frisell in the trio Power Tools with bassist Melvin Gibbs and drummer Ronald Shannon Jackson (a live recording is available through RSJ's website).
2000s
In 2001, he started a group called Children of Agharta to explore the electric Miles Davis repertoire. The first line-up was Cosey, Gary Bartz, John Stubblefield, Matt Rubano, J. T. Lewis, and DJ Johnny Juice Rosado (studio DJ for Public Enemy). The group's booking agency was listing the band as a quartet of Cosey, Bartz, Melvin Gibbs and Doni Hagen.
In 2003, Cosey appeared on an episode of American television's The People's Court, successfully suing a promoter for failing to pay fully for a Children of Agharta gig.
Cosey was also a featured soloist with the group Burnt Sugar on their album The Rites.
In 2004, Cosey appeared in the Godfathers and Sons episode of Martin Scorsese's documentary series The Blues. The episode followed Marshall Chess and Chuck D (of Public Enemy) reuniting the musicians from Muddy Waters' Electric Mud album to record a new track.
In July 2006, Cosey was fleetingly glimpsed during the finale of Bill Laswell's PBS Soundstage concert (his performance having been edited out of the broadcast).
In 2003, Cosey scored a short film, directed by Eli Mavros, entitled Alone Together. Cosey and Mavros had met the previous year during production of Mark Levin's episode for the PBS Blues series. After appearing on Eli's college blues radio show, Shake Em On Down, on New York University's radio station, 89.1 FM WNYU, he agreed to score the film. In the spirit of jazz and spontaneity, the soundtrack to the film was improvised by Cosey in real time over several takes, with several different instruments; no two takes were the same. He played guitar (using several distortion pedals, often bowing the strings like a violin), African thumb piano, and a zither given to him by Miles Davis. The film went on to show at several small film festivals.
From September through October 2007, Pete Cosey briefly appeared playing his guitar (no sound, due to narrative voiceover) in two scenes of a national thirty-second television commercial for AARP's Senior Advantage Complete Care Healthcare Insurance.
In 2007-08, Cosey contributed to the CD Miles from India, which celebrates the music of Miles Davis.[7] It features many former Miles sidemen and Indian musicians, with Cosey playing on five tracks: "Ife (Fast)", "It's About That Time", "Miles Runs the Voodoo Down", "Great Expectations", and "Ife (Slow)".
Death
Pete Cosey died on May 30, 2012 of complications following surgery at Vanguard Weiss Memorial Hospital in Chicago.[5] Although he had spent most of his life in Chicago, he had been living in Evanston, Illinois.[5] He is survived by five children and six grandchildren.
Biography
Early life
Cosey was born in Chicago, Illinois.[5] He was the only child of a musical family. His father and mother wrote for Louis Jordan and Eddie "Cleanhead" Vinson and his father played for Sidney Bechet and Josephine Baker. Following the death of his father, Cosey and his mother moved to Phoenix, Arizona, where he spent his teenage years and began developing his guitar style.[5]
Early career
Prior to joining the Miles Davis band in 1973, Cosey was a busy session guitarist with Chess Records, playing on records by Etta James, Fontella Bass ("Rescue Me"),[5] Rotary Connection, Howlin' Wolf (The Howlin' Wolf Album) and Muddy Waters (Electric Mud, After the Rain).
Cosey was also an early member of Chicago's Association for the Advancement of Creative Musicians (AACM).[6] He was an early member of the Pharaohs, and a group with drummer Maurice White and bassist Louis Satterfield that eventually evolved into Earth, Wind & Fire. Some of his pre-Miles jazz playing is available on albums by Phil Cohran's Artistic Heritage Ensemble.
After joining Davis, Cosey performed on the albums Get Up with It, Dark Magus, Agharta and Pangaea. By 1975, Cosey had developed a remarkably advanced guitar approach—involving numerous alternate tunings, guitars restrung in unusual patterns and a post-Hendrix palette of distortion, wah-wah and guitar synth effects—that has influenced many adventurous guitarists, including Henry Kaiser and Vernon Reid.
Following the 1975 break-up of the Miles Davis band, Cosey largely disappeared from public view. He played on the title track of Herbie Hancock's Future Shock album, but did not appear on record again until Akira Sakata's album Fisherman's.com (with Sakata, Bill Laswell and Hamid Drake) in 2000. Throughout the '80s, he was involved in a number of Chicago- and New York-based groups with various musicians, but no recordings have been released. In 1987, he replaced Bill Frisell in the trio Power Tools with bassist Melvin Gibbs and drummer Ronald Shannon Jackson (a live recording is available through RSJ's website).
2000s
In 2001, he started a group called Children of Agharta to explore the electric Miles Davis repertoire. The first line-up was Cosey, Gary Bartz, John Stubblefield, Matt Rubano, J. T. Lewis, and DJ Johnny Juice Rosado (studio DJ for Public Enemy). The group's booking agency was listing the band as a quartet of Cosey, Bartz, Melvin Gibbs and Doni Hagen.
In 2003, Cosey appeared on an episode of American television's The People's Court, successfully suing a promoter for failing to pay fully for a Children of Agharta gig.
Cosey was also a featured soloist with the group Burnt Sugar on their album The Rites.
In 2004, Cosey appeared in the Godfathers and Sons episode of Martin Scorsese's documentary series The Blues. The episode followed Marshall Chess and Chuck D (of Public Enemy) reuniting the musicians from Muddy Waters' Electric Mud album to record a new track.
In July 2006, Cosey was fleetingly glimpsed during the finale of Bill Laswell's PBS Soundstage concert (his performance having been edited out of the broadcast).
In 2003, Cosey scored a short film, directed by Eli Mavros, entitled Alone Together. Cosey and Mavros had met the previous year during production of Mark Levin's episode for the PBS Blues series. After appearing on Eli's college blues radio show, Shake Em On Down, on New York University's radio station, 89.1 FM WNYU, he agreed to score the film. In the spirit of jazz and spontaneity, the soundtrack to the film was improvised by Cosey in real time over several takes, with several different instruments; no two takes were the same. He played guitar (using several distortion pedals, often bowing the strings like a violin), African thumb piano, and a zither given to him by Miles Davis. The film went on to show at several small film festivals.
From September through October 2007, Pete Cosey briefly appeared playing his guitar (no sound, due to narrative voiceover) in two scenes of a national thirty-second television commercial for AARP's Senior Advantage Complete Care Healthcare Insurance.
In 2007-08, Cosey contributed to the CD Miles from India, which celebrates the music of Miles Davis.[7] It features many former Miles sidemen and Indian musicians, with Cosey playing on five tracks: "Ife (Fast)", "It's About That Time", "Miles Runs the Voodoo Down", "Great Expectations", and "Ife (Slow)".
Death
Pete Cosey died on May 30, 2012 of complications following surgery at Vanguard Weiss Memorial Hospital in Chicago.[5] Although he had spent most of his life in Chicago, he had been living in Evanston, Illinois.[5] He is survived by five children and six grandchildren.
Howlin 'Wolf - Spoonful *
The Wolf LP dubbed this "dog shit", and many blues purists agreed with
him. Like his pair Muddy Waters, Wolf was not too thrilled with
psych-ing and feared his som.Blues with psychedelic rock! Records Chess
tried to incorporate the old traditional blues and some more psychedelic
arrangements with wha-wha guitars and everything else! Then he
detonated recording saying it was not blues! this protest is written on
the cover of Lp! Imagine a Lp where the artist himself says on the cover
did not like, could only sell little. I found a wonderful experience!
Howlin 'Wolf - vocal,harmonica
Morris Jennings - drums
Louis Satterfield - bass
Hubert Sumlin - guitar
Pete Cosey - guitar & bowed guitar
Phil Upchurch - guitar
Roland Faulkner - guitar
Donald Myrick - flute
Gene Barge - sax
Recorded Novembro,1968 at Ter Mar Studios,Chicago
Label: Chess Records/Cadet Concept Records
(* Track vinyl )
Howlin 'Wolf - vocal,harmonica
Morris Jennings - drums
Louis Satterfield - bass
Hubert Sumlin - guitar
Pete Cosey - guitar & bowed guitar
Phil Upchurch - guitar
Roland Faulkner - guitar
Donald Myrick - flute
Gene Barge - sax
Recorded Novembro,1968 at Ter Mar Studios,Chicago
Label: Chess Records/Cadet Concept Records
(* Track vinyl )
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.JPG)
