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Dienstag, 20. September 2016

20.09. Reverend Rusty Stone, Edwin Joseph Bocage, Jelly Roll Morton, Eric Gale * Curley Weaver, Nappy Brown, Charley Booker +

 



1890 Jelly Roll Morton* (or 20.10.)
1930 Edwin Joseph Bocage* 
1938 Eric Gale*
1962 Curley Weaver+
1989 Charley Booker+
2008 Nappy Brown+
Rusty Stone*

 

 

Happy Birthday

 

Reverend Rusty Stone  *20.09.

 


Ein großartiger Musiker zwischen Rock, Blues, Americana und Jam. Wie bei seinen beiden Mitmusikern hört der musikalische Horizont jedoch hier nicht auf, viele andere Musikstile haben ihren Einfluss hinterlassen. Rusty Stone ist ein ausgezeichneter Gitarrist, Songwriter, großartiger Sänger und spielt u.a. dreckige High-Energy-Slide-Guitar auf der Dobro als wäre der Teufel hinter ihm her. Mr. C. P. (Electric bass, Upright bass, Tuba, Vocals): C.P. spielt seine Instrumente groovig und druckvoll. Mit seiner sehr dynamischen und ausdrucksstarken Spielweise begeistert er immer wieder das Publikum.Al Wood (Drums, Cajon, Percussion, Vocals): Allein Al Wood's eindrucksvolles Spiel auf dem Cajon ("Magic Box") mit bloßen Händen (und damit war er 1994 einer der ersten in Europa) muss man gesehen haben. Einfach ein aussergewöhnlicher und vielseitiger Drummer – John Bonham von Led Zeppelin lässt grüssen.
Nur drei Musiker sind nötig um eine stilistische Vielfalt auf die Bühnenbretter zu bringen, die ihresgleichen sucht. Sie schöpfen aus dem reichhaltigen Fundes von Blues, Rock, Jazz, Funk, Soul, Country und Bluegrass.
Mit Sicherheit gehören sie zu den am härtesten arbeitenden Bands in der Live-Music-Szene. Wer glaubt das sei eine Übertreibung, sollte schleunigst ein Concert dieses Trios besuchen. Ihre Musik ist saftig wie ein T-Bone-Steak, scharf wie Tex-Mex-Food und geht runter wie Öl. Einfach eine gnadenlose, erdige, unverwüstliche Live-Show mit ungewöhnlichen Instrumenten-einsatz wie Mandoline, Cajon oder Tuba.
Reverend Rusty & The Case steht für explosiven American Blues made in Germany und begeistert das Publikum mit einem außergewöhnlichen Sound unter anderem aus Rock, Reggae, Funk, Country, Blues und Rhythm & Blues. Konzerte bis zu 3 Stunden sind keine Seltenheit.
Three roadwarriors with the roots in the Blues. Long before the sweat dries, you're sure of one thing: like hurricanes, tornadoes and earthquakes, there's no holding back.
Reverend Rusty & The Case - K.i.S.H. 17.02.2006 




Reverend Rusty - Live Compilation - Munich - Klangfest Gasteig 2015-05-23
The songs:
Back To The Blues (unreleased)
Voodoo King - featuring Mr. C.P. on tuba
Lonesome Guitar (Album »Born For The Blues«)
Preacher Man (Album »Preacher Man«)





Edwin Joseph Bocage  *20.09.1930




 Eddie Bo (eigentlich Edwin Joseph Bocage; * 20. September 1930 in New Orleans; † 18. März 2009 ebenda) war ein US-amerikanischer Musiker und Veteran der New Orleanser R&B-Szene.

Leben und Wirken

Bo wuchs in einer musikalischen Familie auf; seine Mutter spielte Piano im Stil von Professor Longhair. Nach Ableistung seines Wehrdienstes studierte er an der Grundwald School of Music in seiner Heimatstadt, wo er sich mit dem Jazzpiano von Art Tatum und Oscar Peterson beschäftigte. In den 1950ern begleitete er Big Joe Turner, Earl King, Guitar Slim, Johnny Adams, Lloyd Price, Ruth Brown, Smiley Lewis und The Platters auf Tourneen.

Während der späten 1960er- und 1970er-Jahre war Eddie Bo als Sänger, Songwriter, Produzent und Pianist tätig. Er nahm seit 1955 für Label wie Ace, Apollo, Arrow, At Last, Blue-Jay, Bo-Sound, Checker, Chess, Cinderella, Nola, Ric, Scram, Seven B oder Swan auf und kam mit Titeln wie Check Mr Popeye (1961), Hook and Sling (1969)[1] oder Check Your Bucket (1970) in die Charts. Einige seiner Songs wurden von Musikern wie Little Richard (Slippin’ and Slidin'), Etta James (My Dearest Darling) oder Tommy Ridgley (In the Same Old Way) erfolgreich übernommen. Als Produzent und Arrangeur arbeitete er für Al “Carnival Time” Johnson, Art Neville, Chris Kenner, Chuck Carbo, Irma Thomas, Johnny Adams, Mary Jane Hooper, Robert Parker, The Vibrettes und The Explosions.

Weiterhin nahm er mit der Dirty Dozen Brass Band auf und tourte mit Willy DeVille, auf dessen Alben Victory Mixture und Big Easy Fantasy er auch zu hören ist. Mit Raful Neal und Rockin’ Tabby Thomas hatte er seit den 1990er-Jahren Projekte unter den Namen The Louisiana Legends, The District Court und The Hoodoo Kings.

Preise und Auszeichnungen

Unter den Preisen, die Bo erhielt, sind zwei Lifetime Achievement Awards der South Louisiana Music Association und Music/Offbeat Best of the Beat. Seine Geburtsstadt nominierte ihn als ihren Musikalischen Botschafter für Pakistan.

 Edwin Joseph Bocage (September 20, 1930 – March 18, 2009),[1] known as Eddie Bo, was an American singer and pianist from New Orleans. Schooled in jazz, he was known for his blues, soul and funk recordings, compositions, productions and arrangements. He debuted on Ace Records in 1955 and released more single records than anyone else in New Orleans other than Fats Domino.[2]

Eddie Bo worked and recorded for more than 40 different record labels, including Ace, Apollo Records, Arrow, At Last, Blue-Jay, Bo-Sound, Checker, Chess, Cinderella, Nola, Ric (for which his carpentry skills were used to build them a studio), Scram, Seven B, and Swan. He is described at Allmusic as "a sorely underappreciated veteran of the New Orleans R&B scene."[3]

Biography
Early life

Eddie Bo grew up in Algiers, Louisiana and in the Ninth Ward of New Orleans.[1] He came from a long line of ship builders with the male members of his family being bricklayers, carpenters and masons by day and musicians by night. Eddie's mother was a self-taught pianist in the style of friend, Professor Longhair. The Bocage family was involved in the traditional jazz community with cousins Charles, Henry and Peter, who played with Sidney Bechet, contributing to jazz orchestras before World War II.[2]

Eddie graduated from Booker T. Washington High School before going into the army. After his army stint, he returned to New Orleans to study at the Grunewald School of Music.[3] There he learned piano, music theory and to sight read, and arrange music. It was at this time that he was influenced by Russian classical pianist Vladimir Horowitz[4] and was introduced to bebop pianists Art Tatum and Oscar Peterson. He began playing in the New Orleans jazz scene, but made a switch to R&B after deciding it was more popular and brought in more money.[3] Like a lot of other local musicians Eddie frequented the premier blues venue in town, the Dew Drop Inn on LaSalle Street.[5] He played at the Club Tijuana under the name of Spider Bocage, later forming the Spider Bocage Orchestra, which toured the country supporting singers Big Joe Turner, Earl King, Guitar Slim, Johnny Adams, Lloyd Price, Ruth Brown, Smiley Lewis, and The Platters.[3][6]

Recording and production career

His first released record in 1955 was "Baby", recorded for Johnny Vincent's Ace Records. His next release, in 1956 on Apollo Records, was "I'm Wise" which Little Richard later recorded as "Slippin' and Slidin'".[7] After several releases on Ace he recorded "My Dearest Darling" in 1957 for Chess Records; the song, co-written by Bo and Paul Gayten, became a national chart hit in 1960 when recorded by Etta James.[8] From 1959, he recorded for Ric Records, and had regional hits including "Every Dog Has Its Day" and "Tell It Like It Is", and in 1961 recorded the novelty dance song "Check Mr Popeye", reissued nationally by Swan Records, which became one of his best-known recordings though not a national hit.[1][7]

During the 1960s, Bo continued to release singles on a string of local record labels, including Rip, Cinderella, and Blue Jay, though only a few achieved national distribution.[9] On these records, his style got funkier, and he used more of his jazz training, helping to create a distinctively different and influential New Orleans piano style.[3] He recorded the renowned "Pass The Hatchet" under the nom de disque, Roger and the Gypsies for Joe Banashak's Seven B label as well as "Fence of Love" and "SGB" (Stone Graveyard Business) under his own name. He either wrote or produced most of the titles on Seven B records.[citation needed] He also worked as a record producer, with musicians including Irma Thomas, Chris Kenner, Johnny Adams.[3] Al "Carnival Time" Johnson, Art Neville, Chuck Carbo, Mary Jane Hooper, Robert Parker, and The Explosions. In 1969, at the height of funk, he had his only national chart hit, "Hook and Sling, Pts. 1 & 2," which reached number 13 on the Billboard R&B chart and number 73 on the pop chart.[10][11] The song, on the Scram label, was recorded in just one take. He then formed his own label, Bo-Sound, and had another regional hit with "Check Your Bucket."[3]

From the early 1970s Bo worked in the music business only sporadically, after setting up his own renovation business. In 1977 he released two albums, The Other Side of Eddie Bo and Watch for the Coming, which he produced himself.[3] In the late 1980s and 1990s he recorded with the Dirty Dozen Brass Band, with whom he toured Europe, and resurrected his Bo-Sound label.[3] He joined Willy DeVille to play on two DeVille records, Victory Mixture and Big Easy Fantasy, and he toured with DeVille as well. He later joined up with Raful Neal and Rockin' Tabby Thomas playing and recording under the names The Louisiana Legends, The District Court and The Hoodoo Kings.[12] He continued to perform frequently in New Orleans and at festivals elsewhere, and toured intermittently.[3] He also bought a doctor's office and salon on Banks Street which he and his manager converted into an eatery for fans called "Check Your Bucket" after his 1970 hit.[13] Like his home and recording studio it was hit by Hurricane Katrina while Bo was on tour in Paris.[14] Due to Bo's carpentry and bricklaying skills he took on the task of completing the hurricane damage repairs himself.[15]

Death and aftermath

Eddie Bo died on March 18, 2009, in Picayune, Mississippi, United States, of a heart attack, aged 78.[1][15] After his death, his body was cremated on the instructions of a woman claiming to be his sister, though other close relatives of Bo have subsequently claimed that she was unrelated to him.[15]

A memorial concert was held in his memory on April 1, 2009, with guests including Dr. John, Irma Thomas and Allen Toussaint.[15]

Family

Eddie Bo was survived by two sisters; Gloria Bocage-Sterling, who lives in Oakland, California, and Lisa Bocage-Howard, and two brothers; Oliver and Cornelius; plus eight children: Valeri Ann Bocage, Edwin Joseph Bocage, Jr., Owen David Bocage, Nancy Marie Bocage-Siegel, Cheryl Bocage-Joseph, Tanya Bocage-Sales, Sonjia Bocage-Anderson, and Tomekia Bocage-Jones.
Awards and recognitions

He won many music awards including two Lifetime Achievement awards from the South Louisiana Music Association and Music/Offbeat Best of the Beat.[6] His song "Hook & Sling" was featured on the breakbeat compilation Ultimate Breaks and Beats. May 22, 1997 was declared "Eddie Bo Day" in New Orleans by mayor Marc Morial while Bo was playing in Karachi, Pakistan. Bo was also named New Orleans' music ambassador to Pakistan.



You Got Your Mojo Working - Eddie Bo 


https://www.youtube.com/watch?v=Mg8HFOp0JwM 








Jelly Roll Morton  *20.09.1885







„Jelly Roll“ Morton (* 20. September 1885[1] in Gulfport/Mississippi als Ferdinand Joseph La Menthe; † 10. Juli 1941 in Los Angeles) war ein US-amerikanischer Pianist, Komponist und Bandleader. Er gilt als einer der einflussreichen Jazzmusiker seiner Zeit.
Jelly Roll Morton wurde in Gulfport (Mississippi) geboren und wuchs in New Orleans (Louisiana) auf. Seine Mutter Laura La Menthe, geborene Monette, verließ ihren Ehemann F. P. „Ed“ La Menthe, den Vater Jelly Rolls, zu einer Zeit, als dieser noch ein Kind war. Sie heiratete daraufhin Willie Morton. Neben den Eltern spielten seine Großmutter Laura „Mimi“ Monette, geborene Baudoin, seine jüngeren Halbschwestern, von denen eine den Vornamen Amède trug, sein Cousin Dink Johnson sowie seine Patin Laura Hunter, von der in der Regel als Eulalie Echo berichtet wird, eine prägende Rolle im Leben von Jelly Roll Morton.
Sein Spitzname „Jelly Roll“ hatte einen sexuellen Hintersinn, der (zumindest) damals allgemein verstanden wurde, nach der herrschenden puritanischen Sprachnorm aber als unsittlich galt, und diente ursprünglich als Anspielung auf Mortons zahlreiche Affairen. Aus demselben Grunde gilt seine Interpretation des „Winin' Boy Blues“ als eine Art Erkennungsmelodie. Diese Komposition mit alternativem Text ist auch als „I'm Alabama Bound“ veröffentlicht.
Mortons Geburtsdatum ist umstritten. Eine Geburtsurkunde existiert nicht; die Angaben schwanken zwischen 1884 und 1890:

    Seine Musterungspapiere für den Ersten Weltkrieg nennen den 13. September 1884.
    Morton selbst gab den 20. September 1885 an.
    Seine erste Ehefrau Anita Gonzales und seine elf Jahre jüngere Halbschwester Amède gaben
     1886 als Geburtsjahr an.
    Eine Versicherungspolice nennt das Jahr 1888.
    Seine Todesurkunde weist 1889 als Geburtsjahr aus.
    Eine Taufbescheinigung von 1894 gibt als Geburtstag den 20. Oktober 1890 an.

Er interessierte sich seit frühester Kindheit für Musik, was vermutlich darauf zurückzuführen ist, dass in seiner Familie große Begeisterung für amerikanische Volksmusik sowie für Opern und Operetten geherrscht hat. Vor diesem Hintergrund ist dann auch seine musikalische Anspielung auf die Verdi-Oper „Der Troubadour“ während der „Library of Congress Recordings“ („The Miserere“) zu sehen und zu verstehen. Als aktiver Musiker (Posaune) war bislang aber einzig Mortons Vater F. P. La Menthe in Erscheinung getreten. Darüber hinaus ist zu berücksichtigen, dass die kulturelle Vielfalt in New Orleans dem jungen Ferdinand Morton den Einblick in ein sehr breites Spektrum an musikalischen Strömungen ermöglicht haben dürfte. Als er im Alter von etwa zehn Jahren einen Pianisten in der französischen Oper in New Orleans spielen hörte, war er so fasziniert, dass er begann, Klavierunterricht zu nehmen. Belegt ist, dass er ab 1895 von dem angesehenen Lehrer Professor Nickerson in New Orleans unterrichtet wurde.
Karriere und Weggefährten
Zunächst fiel Morton als talentierter Gitarrist, Sänger und Harmonikaspieler auf. In seinen Erinnerungen nannte er Lieder wie „Hot Time in the Old Town Tonight“, „Wearing My Heart for You“, „Old Oaden Bucket“, „Bird in a Gilded Cage“, „Mr Johnson Turn Me Loose“ als Beispiele aus seinem Repertoire dieser Zeit. Als Beleg für seine Qualitäten sowohl auf der Gitarre als auch als Sänger dienen vor allem jene späten Aufnahmen, die Morton gemeinsam mit seinem Biographen Alan Lomax im Jahre 1938 in der Library of Congress in Washington D.C. getätigt hat.
1902 begann Morton, in der Öffentlichkeit, insbesondere im Vergnügungs- und Rotlichtviertel rund um die Basin Street in New Orleans, auf Paraden sowie auf Volksfesten in den vornehmen Vororten dieser Stadt (beispielhaft dafür die Aufnahmen „Milenberg Joys“ und „New Orleans Blues“), zeitgenössische Ragtimes, Lieder und Tänze zu spielen. Als seine streng gläubige Großmutter, bei der er nach dem Tod der Mutter gemeinsam mit seinen jüngeren Schwestern lebte, von der „unseriösen“ Tätigkeit ihres Enkels erfuhr, zwang sie ihn, auszuziehen. Nachdem er übergangsweise bei seiner Patin Laura Hunter / Eulalie Echo unterkommen konnte, reiste er durch viele Städte der Südstaaten der USA (Gulfport/Mississippi, Mobile/Alabama, Memphis/Tennessee, St. Louis/Missouri, Kansas City/Kansas) sowie durch Kalifornien und nach Chicago/Illinois. Überall dort trat er als Pianist auf.
1917 kehrte er zunächst nach Chicago zurück, um anschließend für einen vergleichsweise langen Zeitraum nach Kalifornien überzusiedeln. Dort kam es 1918 zu ersten Aufnahmen mit Reb Spikes, Mutt Carey, Wade Waley und Kid Ory. Diese Aufnahmen gelten heute als unauffindbar.
Zwischen 1923 und 1928 lebte und arbeitete Morton schließlich wieder in Chicago, das mittlerweile als das neue Jazz-Zentrum galt. Es kam zu zahlreichen Aufnahmen für die Plattenfirmen Paramount Records, Gennett Records, Vocalion Records, Victor Records und Columbia Records. Am 17. Juli 1923 entstand als Mortons überhaupt zweite Studioaufnahme der von ihm komponierte Jazzstandard King Porter Stomp, später häufig in der Bigband-Ära gecovert. Im September 1926 gründet er die legendären „Red Hot Peppers“. In ihrer ursprünglichen Besetzung bestand diese Formation aus George Mitchell, Kid Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hilaire und Jelly Roll Morton.
Mit Beginn der Swing-Ära ging das Interesse an Mortons zu diesem Zeitpunkt bereits als eher traditionell geltendem Jazz-Stil zurück. Die Jahre 1929 und 1930 verbrachte er in New York City. Sieben Jahre später kam es in der Bar „Jungle Inn“ in Washington D. C. zu einem ersten Kontakt mit dem Musik-Journalisten Alan Lomax. In den Monaten Mai und Juli 1938 trafen sich Morton und Lomax dann regelmäßig in der Library of Congress in Washington D. C., wobei es zu den Aufnahmen der sogenannten „Library of Congress Recordings“ kam.
Ab 1939 erarbeitete Morton zahlreiche neue Aufnahmen - unter anderem mit Sidney Bechet. Darauf aufbauend kam es zu einem späten Comeback des Musikers. Im November 1940 zog er nach Los Angeles. Nachdem er Opfer einer Messer-Attacke geworden war, litt er an gesundheitlichen Problemen und starb am 10. Juli 1941 in Los Angeles an Herzversagen.
Neben seiner Hauptbeschäftigung als Pianist, Komponist und Bandleader betätigte sich Morton als Manager verschiedener Bars. Zwischenzeitlich versuchte er sich auch als Theaterschauspieler, wobei er in diesem Bereich nie auch nur annähernd an seine Erfolge als Musiker anknüpfen konnte. Darüber hinaus kannte man ihn als exzellenten Poolbillard-Spieler.
Wirken
Er wurde auch als Pianist für kommerzielle Produktionen engagiert. So z. B. für den Showman und Klarinettisten Wilton Crawley, der zu den Protagonisten der „gas-pipe“-Klarinettenspielweise[2] zählte, einer Spielweise, die sich am Duktus menschlicher Stimmen orientierte und Blastechniken der Klezmermusik mit anderen zum Teil skurrilen Blastechniken kombinierte. Einige diese Techniken wurden von Klarinettisten des Avantgarde Jazz in den 1980ern wieder neu aufgegriffen. „Jelly Roll“ Morton war dafür bekannt, dass er am liebsten eigene Kompositionen spielte. Fremdkompositionen versuchte er nach Möglichkeit in seinem Sinne zu interpretieren. Bei einer Produktion mit Wilton Crawley kam es zwischen Morton und Crawley zu einer Konfrontation, die von Crawley beendet wurde, indem er folgendes zu Morton sagte: “Look, Jelly this is my date and we are going to use my arrangements and my way of doing things, not yours! That sort of took him (Morton) down a peg and he didn't have much to say after that for the rest of the day.”[3]
Morton setzte sich als einer der ersten Jazzmusiker mit den theoretischen Grundlagen dieser Musikrichtung auseinander. Bedauerlicherweise gibt es kaum Dokumente, auf die sich diese Behauptung stützen ließe. Angesichts seiner Vorgehensweise beim Komponieren und Arrangieren sowie des hohen Schwierigkeitsgrades seiner Werke liegt aber die Vermutung nahe, dass Morton nicht nur intuitiv komponierte und spielte, sondern auf der Grundlage spezifischer Kenntnisse über die Merkmale der Jazzmusik arbeitete. Diese Auffassung lässt sich mit umso mehr Nachdruck vertreten, wenn man bedenkt, dass Morton viele seiner Werke bereits komponiert und notiert hatte, noch bevor sie von dem jeweiligen Orchester gespielt und aufgenommen wurden. Es war in Musikerkreisen bekannt, dass Morton sich immer intensiv mit der zu spielenden Musik auseinandersetzte. “Morton, who rarely played tunes other than his own, sat down at the piano to familiarize himself with the music and get the session under way.”[4] Mit dieser planenden und manchmal aufwendigen Arbeitsweise ragte er aus der Riege der vielen Jazzband-Leader, die spontan arbeiteten und weitenteils improvisierend ihr Repertoire fanden, weit hervor. Als Beispiel nannte Morton als erster den sogenannten „spanish tinge“ (spanische Färbung)[5], der unter anderem in den Begleittexten zu dem Album „Sketches of Spain“ von Miles Davis Erwähnung findet und sich anschaulich in „The Crave“, „Mamanita“ und „The Pearls“ findet.
Schließlich darf nicht in Vergessenheit geraten, dass es wiederholt zur Zusammenarbeit mit anderen bekannten Musikern, insbesondere Sidney Bechet kam. Morton und Bechet spielten unter anderem den bereits erwähnten „Windin' Boy Blues“ zusammen ein. Mit Louis Armstrong spielte er den „Wild Man Blues“. Zu den weniger bekannten, aber erstklassigen Musikern, mit denen Morton oft zusammenarbeitete, gehörten unter anderem Bunk Johnson, Johnny St. Cyr, Buddy Bertrand sowie Sidney de Paris und Albert Nicholas. Die Zusammenarbeit Mortons mit Johnny Dodds und dessen Bruder Baby Dodds wird eindrucksvoll in der Einspielung des „Wolverine Blues“ dokumentiert.
Künstlerische Rezeption
Morton stammte aus einer frankophonen, aufstiegsorientierten Mittelklasse-Familie mit kreolischem Selbstverständnis. Er mochte es nicht, eine untergeordnete Rolle zu spielen und lehnte den teils offenen, teils latenten Rassismus in den USA ab. Er hatte ausweislich seines geschriebenen Oeuvres ein hohes Arbeitsethos und stellte ebenso hohe Anforderungen an seine Kollegen, was diese nicht immer sämtlich akzeptierten. Die Geschichte der „Red Hot Peppers“ in ihren wechselnden Besetzungen und Mortons streckenweise Zurückgezogenheit zeugen von einem intelligenten und tatkräftigen, aber auch schwierigen und zwiespältigen Menschen. Ohne Zweifel handelte es sich bei Jelly Roll Morton um eine oft sensible, weil exzentrische, ich-bezogene und stolze Persönlichkeit, die bei fast jeder Gelegenheit ihre eigenen Leistungen hervorhob und Fehlleistungen anderer lauthals benannte. Aber er wurde auch nicht müde, an die Verdienste anderer großer Komponisten und Interpreten zu erinnern, die selbst nie die Popularität eines Jelly Roll Morton, eines Sidney Bechet oder eines Louis Armstrong erreichten. Zu ihnen gehört insbesondere sein früher Wegbegleiter und von ihm als sein Vorbild bezeichnete Pianist Tony Jackson.
Daher war aus vielen Gründen die Person Mortons der Kritik ausgesetzt. Allerdings erscheint es mehr als fragwürdig auch seine musikalischen Leistungen in Frage zu stellen. In diesem Punkt lässt die einschlägige Literatur häufig die gewünschte Sachlichkeit und Objektivität vermissen. Bei Morton handelte es sich um einen der wenigen Menschen, die nicht nur Zeuge der ersten Schritte der Jazzmusik wurden, sondern die selbst an diesem originären Schöpfungsakt beteiligt waren. Selbst seine schärfsten Kritiker können ihm nicht ein Mindestmaß an Glaubwürdigkeit absprechen, da ein erheblicher Teil seiner Erzählungen von Zeitzeugen bestätigt wurde oder auf anderem Wege bewiesen werden kann. Auch sind seine Erzählungen eine der wichtigsten Quellen über die frühe Entwicklung der Jazzmusik. Die Behauptung hingegen, Morton sei rückblickend nicht nur als ein hervorragender Musiker, sondern darüber hinaus auch als der erste Jazz-Historiker anzusehen, geht jedoch zu weit.
Rückblickend kann man dem Musiker Art Hodes daher nur zustimmen, wenn er sagt: „Für die kleine Band war Morton das, was Ellington für die Big Band war.“

Ferdinand Joseph LaMothe (October 20, 1890 – July 10, 1941),[1] known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana.

Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated.[2] His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish Tinge" (habanera rhythm and tresillo), and for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the last a tribute to New Orleans musicians from the turn of the 19th century to 20th century.

Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902—much to the derision of later musicians and critics.[3] The jazz historian, musician, and composer Gunther Schuller says of Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation".[4] However, the scholar Katy Martin has argued that Morton's bragging was exaggerated by Alan Lomax in the book Mister Jelly Roll, and this portrayal has influenced public opinion and scholarship on Morton since.[5]

Biography
Early life and education

Morton was born into a creole of color family in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. Sources differ as to his birth date: a baptismal certificate issued in 1894 lists his date of birth as October 20, 1890; Morton and his half-sisters claimed he was born on September 20, 1885.[citation needed] His World War I draft registration card showed September 13, 1884, but his California death certificate listed his birth as September 20, 1889. He was born to F. P. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hécaud) was the godparent. Hécaud helped choose his christening name of Ferdinand. His parents lived in a common-law marriage and were not legally married. No birth certificate has been found to date.

Ferdinand started playing music as a child, showing early talent. After his parents separated, his mother married a man named Mouton. Ferdinand took his stepfather's name and anglicized it as "Morton".

Musical career

At the age of fourteen, Morton began working as a piano player in a brothel (or, as it was referred to then, a sporting house). While working there, he was living with his religious, church-going great-grandmother; he had her convinced that he worked as a night watchman in a barrel factory.

In that atmosphere, he often sang smutty lyrics; he took the nickname "Jelly Roll",[6] which was black slang for female genitalia.[7]

After Morton's grandmother found out that he was playing jazz in a local brothel, she kicked him out of her house.

He said:

    When my grandmother found out that I was playing jazz in one of the sporting houses in the District, she told me that I had disgraced the family and forbade me to live at the house... She told me that devil music would surely bring about my downfall, but I just couldn't put it behind me.[8]

Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major influence on Morton's music. Jelly Roll said that Jackson was the only pianist better than he was.

Touring

Around 1904, Morton also started touring in the American South, working with minstrel shows, gambling and composing. His works "Jelly Roll Blues", "New Orleans Blues", "Frog-I-More Rag", "Animule Dance", and "King Porter Stomp" were composed during this period. He got to Chicago in 1910 and New York City in 1911, where future stride greats James P. Johnson and Willie "The Lion" Smith caught his act, years before the blues were widely played in the North.[9]

In 1912–1914, Morton toured with his girlfriend Rosa Brown as a vaudeville act before settling in Chicago for three years. By 1914, he had started writing down his compositions. In 1915, his "Jelly Roll Blues" was arguably the first jazz composition ever published, recording as sheet music the New Orleans traditions that had been jealously guarded by the musicians. In 1917, he followed bandleader William Manuel Johnson and Johnson's sister Anita Gonzalez to California, where Morton's tango, "The Crave", made a sensation in Hollywood.[10]

Vancouver

Morton was invited to play a new Vancouver, British Columbia, nightclub called The Patricia, on East Hastings Street. The jazz historian Mark Miller described his arrival as "an extended period of itinerancy as a pianist, vaudeville performer, gambler, hustler, and, as legend would have it, pimp".[11]

Chicago

Morton returned to Chicago in 1923 to claim authorship of his recently published rag, "The Wolverines", which had become a hit as "Wolverine Blues" in the Windy City. He released the first of his commercial recordings, first as piano rolls, then on record, both as a piano soloist and with various jazz bands.[12]

In 1926, Morton succeeded in getting a contract to record for the largest and most prestigious company in the United States, Victor. This gave him a chance to bring a well-rehearsed band to play his arrangements in Victor's Chicago recording studios. These recordings by Jelly Roll Morton & His Red Hot Peppers are regarded as classics of 1920s jazz. The Red Hot Peppers featured such other New Orleans jazz luminaries as Kid Ory, Omer Simeon, George Mitchell, Johnny St. Cyr, Barney Bigard, Johnny Dodds, Baby Dodds, and Andrew Hilaire. Jelly Roll Morton & His Red Hot Peppers were one of the first acts booked on tours by MCA.[13]

Marriage and family

In November 1928, Morton married the showgirl Mabel Bertrand in Gary, Indiana.

New York City

They moved that year to New York City, where Morton continued to record for Victor. His piano solos and trio recordings are well regarded, but his band recordings suffer in comparison with the Chicago sides, where Morton could draw on many great New Orleans musicians for sidemen.[14] Although he recorded with the noted musicians clarinetists Omer Simeon, George Baquet, Albert Nicholas, Wilton Crawley, Barney Bigard, Russell Procope, Lorenzo Tio and Artie Shaw, trumpeters Bubber Miley, Johnny Dunn and Henry "Red" Allen, saxophonists Sidney Bechet, Paul Barnes and Bud Freeman, bassist Pops Foster, and drummers Paul Barbarin, Cozy Cole and Zutty Singleton, Morton generally had trouble finding musicians who wanted to play his style of jazz. His New York sessions failed to produce a hit.[15]

With the Great Depression and the near collapse of the record industry, Victor did not renew Morton's recording contract for 1931. Morton continued playing in New York, but struggled financially. He briefly had a radio show in 1934, then took on touring in the band of a traveling burlesque act for some steady income. In 1935, Morton's 30-year-old composition King Porter Stomp, as arranged by Fletcher Henderson, became Benny Goodman's first hit and a swing standard, but Morton received no royalties from its recordings.[16]

Washington, D.C.

In 1935, Morton moved to Washington, D.C., to become the manager/piano player of a bar called, at various times, the "Music Box", "Blue Moon Inn", and "Jungle Inn" in the African-American neighborhood of Shaw. (The building that hosted the nightclub stands at 1211 U Street NW.) Morton was also the master of ceremonies, bouncer, and bartender of the club. He lived in Washington for a few years; the club owner allowed all her friends free admission and drinks, which prevented Morton from making the business a success.[17]

In 1938, Morton was stabbed by a friend of the owner and suffered wounds to the head and chest. After this incident, his wife Mabel demanded that they leave Washington.[17]

During Morton's brief residency at the Music Box, the folklorist Alan Lomax heard the pianist playing in the bar. In May 1938, Lomax invited Morton to record music and interviews for the Library of Congress. The sessions, originally intended as a short interview with musical examples for use by music researchers in the Library of Congress, soon expanded to record more than eight hours of Morton talking and playing piano. Lomax also conducted longer interviews during which he took notes but did not record. Despite the low fidelity of these non-commercial recordings, their musical and historical importance have attracted numerous jazz fans, and they have helped to ensure Morton's place in jazz history.[18]

Lomax was very interested in Morton's Storyville days in New Orleans and the ribald songs of the time. Although reluctant to recount and record these, Morton eventually obliged Lomax. Because of the suggestive nature of the songs, some of the Library of Congress recordings were not released until 2005.[18]

In his interviews, Morton claimed to have been born in 1885. He was aware that if he had been born in 1890, he would have been slightly too young to make a good case as the inventor of jazz. He said in the interview that Buddy Bolden played ragtime but not jazz; this is not accepted by the consensus of Bolden's other New Orleans contemporaries. The contradictions may stem from different definitions for the terms ragtime and jazz. These interviews, released in different forms over the years, were released on an eight-CD boxed set in 2005, The Complete Library of Congress Recordings. This collection won two Grammy Awards.[18] The same year, Morton was honored with the Grammy Lifetime Achievement Award.

Later years

When Morton was stabbed and wounded, a nearby whites-only hospital refused to treat him, as the city had racially segregated facilities. He was transported to a black hospital farther away.[citation needed] When he was in the hospital, the doctors left ice on his wounds for several hours before attending to his eventually fatal injury. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he discussed in his Library of Congress interviews.[citation needed]

Worsening asthma sent him to a New York hospital for three months at one point. He continued to suffer from respiratory problems when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career. Morton died on July 10, 1941, after an eleven-day stay in Los Angeles County General Hospital.

According to the jazz historian David Gelly in 2000, Morton's arrogance and "bumptious" persona alienated so many musicians over the years that no colleagues or admirers attended his funeral.[19] But, a contemporary news account of the funeral in the August 1, 1941, issue of Downbeat says that fellow musicians Kid Ory, Mutt Carey, Fred Washington and Ed Garland were among his pall bearers. The story notes the absence of Duke Ellington and Jimmie Lunceford, both of whom were appearing in Los Angeles at the time. (The article is reproduced in Alan Lomax's biography of Morton, Mister Jelly Roll, University of California Press, 1950.)

Piano style

Morton's piano style was formed from early secondary ragtime and "shout",[citation needed] which also evolved separately into the New York school of stride piano. Morton's playing was also close to barrelhouse, which produced boogie woogie.[citation needed]

Morton often played the melody of a tune with his right thumb, while sounding a harmony above these notes with other fingers of the right hand. This added a rustic or "out-of-tune" sound (due to the playing of a diminished 5th above the melody). This may still be recognized as belonging to New Orleans. Morton also walked in major and minor sixths in the bass, instead of tenths or octaves. He played basic swing rhythms in both the left and right hand.


 
Jelly Roll Morton Finger Breaker


https://www.youtube.com/watch?v=RYMArK1f7wU 






Eric Gale  *20.09.1938





Eric J. Gale (* 20. September 1938 in Brooklyn; † 25. Mai 1994 in Baja California, Mexiko) war ein US-amerikanischer Gitarrist in den Bereichen Rhythm and Blues, Fusion, Easy Listening und Jazz.

Leben und Wirken

Im Alter von 12 Jahren begann er als Autodidakt mit dem Gitarrenspiel. Obwohl er einen Abschluss in Chemie an der Niagara-Universität hatte, wendete er sich der Musik zu. Er wurde Begleitmusiker von Maxine Brown, The Drifters und Jesse Belvin, nahm aber ab 1963 auch mit King Curtis auf. Als Sessionmusiker wurde er in den 1960er Jahren bekannt und war an Aufnahmen von Aretha Franklin, Bob James, Johnny Hodges, Jimmy Smith und Sonny Stitt beteiligt. In den Studios arbeitete er an ungefähr 500 Alben mit, insbesondere für Creed Taylors Label CTI. Zu den Künstlern, an deren Aufnahmen er mitwirkte, zählen Stanley Turrentine, Paul Simon, Lena Horne, Quincy Jones, Bob Marley, Nina Simone, Peter Tosh, Grover Washington, Jr., Herbie Mann, Esther Phillips, Joe Cocker, Carly Simon, Van Morrison, Al Jarreau, Phil Upchurch und Billy Joel. Einige Zeit war er auch Gitarrist in Aretha Franklins Bühnenband. In den späten 1970er und frühen 1980er Jahren trat er mit Stuff, einer New Yorker Jazzfunk-Band auf.

Eric J. Gale (September 20, 1938 – May 25, 1994) was a leading American jazz and session guitarist.

Early life and career

Born in Brooklyn, New York, Gale began playing guitar at the age of 12.[1] Although he majored in chemistry at Niagara University, Gale was determined to pursue a musical career, and began contributing to accompaniments for such stars as Maxine Brown, the Drifters, and Jesse Belvin. He soon began to attract the attention of King Curtis and Jimmy Smith, who began recommending him for studio work.[2] He became known first as a session musician in the 1960s, eventually appearing on an estimated 500 albums. Among the many artists he recorded with were Aretha Franklin, Bob James, Paul Simon (Gale plays a supporting role in the 1980 film One-Trick Pony, written by and starring Simon), Lena Horne, Quincy Jones, Bob Marley, Nina Simone, Peter Tosh, Grover Washington, Jr., Herbie Mann, Esther Phillips, Joe Cocker, Carly Simon, Van Morrison, Al Jarreau, Dave Grusin and Billy Joel.[3] He also had played in Aretha Franklin's stage band.

Death

Gale died of lung cancer in May 1994, at the age of 55.


Eric Gale - Multiplication Live 1982 at Montreux Jazz Festival 


https://www.youtube.com/watch?v=PvpEGjbr3ZM 


Late In The Evening 
Paul Simon
Live in Philadelphia 1980
Eric Gale Steve Gadd Richard Tee Tony Levin


https://www.youtube.com/watch?v=P5pYLwm2Eyc 

 






 

R.I.P.


Curley Weaver  +20.09.1962

 


Curley Weaver (* 26. März 1906 in Covington, Georgia; † 20. September 1962 in Almon, Georgia), bekannt als der Georgia Guitar Wizard (Gitarrenhexer aus Georgia), war ein US-amerikanischer Blues-Gitarrist und Sänger. Bekannt wurde Weaver vor allem im Duo mit Blind Willie McTell. Beide waren Gitarrenvirtuosen, McTell auf der 12-saitigen, Weaver auf der 6-saitigen Gitarre.
Als Kind lernte Weaver das Gitarrespielen von seiner Mutter Savanah Shepard, von der es auch die Brüder Charlie (bekannt als Laughing Charley Lincoln) und Robert Hicks (bekannt als Barbecue Bob) lernten. Von den legendären frühen Bluesmännern Nehemiah Smith und Blind Buddy Keith erlernte Weaver das Slidegitarrenspiel. Mit 19 Jahren zog er nach Atlanta, zusammen mit dem Mundharmonikaspieler Eddie Mapp. Die beiden taten sich mit den Hicks-Brüdern zusammen und musizierten in Bars und Clubs.
1928 machte Weaver auf Empfehlung von Barbecue Bob seine ersten Aufnahmen Sweet Petunia und No No Blues. Weitere Aufnahmen folgten, sowohl solo als auch mit Eddie Mapp, Barbecue Bob und den Georgia Cotton Pickers. Er lernte den erst 16-jährigen Mundharmonikaspieler Buddy Moss kennen, mit dem er als die Georgia Browns auftrat. Seine fruchtbarste, mehr als 20-jährige Zusammenarbeit hatte Weaver jedoch mit Blind Willie McTell.
Die 1930er waren schwere Jahre für Curley Weaver: die große Depression lähmte den Plattenmarkt, Barbecue Bob starb jung, Eddie Mapp wurde ermordet und der 21-jährige Moss ging für Jahre ins Gefängnis. Weaver machte weiterhin Musik, u. a. mit McTell, später wieder mit Moss. Ende der 1950er erblindete er.
Curley Weaver starb 1962 und erlebte das Bluesrevival der 1960er nicht mehr.

Curley James Weaver (March 25, 1906 - September 20, 1962[2]) was an American blues musician, also known as Slim Gordon.

Biography
Early years

He was born in Covington, Georgia, United States,[2] and raised on a farm near Porterdale. His mother, Savannah "Dip" Shepard Weaver, was a well-respected pianist and guitarist, who taught Curley together with her friend's sons, "Barbecue Bob" Hicks and Charlie Hicks.[3] The three formed a group with harmonica player Eddie Mapp, and played in the local area.[3]

Early career

In 1925 Weaver moved to Atlanta, working as a laborer and playing on the streets and at various social events.[1] In 1928, he first recorded with Columbia Records, later releasing records on several different record labels. Although he recorded on his own during the 1920s and 1930s, first in the style taught by his mother and later with the spreading Piedmont style, he was best known for duets with Blind Willie McTell - with whom he worked until the 1950s - as well as Barbecue Bob, Fred McMullen, and harmonica and guitar player Buddy Moss.[3] He was also a member of the recording groups The Georgia Browns (Weaver, Moss, McMullen) and The Georgia Cotton Pickers (Bob, Weaver, Moss), examples of the sort of bands that played house parties in those days.[3]
Later years

After World War II he recorded in New York and Atlanta both solo, and with McTell.[3] His final recordings were in 1949. Weaver lost his sight in the 1950s after working on the railroad, and died of uremia[2] in Almon, Georgia,[4] in 1962, at the age of 56.
Children

His daughter Cora Mae Bryant (born May 1, 1926) continued in her father's tradition as a blues musician until her own death in late 2008.




Curley Weaver - She don't treat me good no more 


https://www.youtube.com/watch?v=qcHjED61B0o 








 

Nappy Brown  +20.09.2008

 

 

Nappy Brown (* 12. Oktober 1929 in Charlotte, North Carolina; † 20. September 2008 in Charlotte, North Carolina; eigentlich Napoleon Brown Goodson Culp) war ein vor allem in den 1950er Jahren populärer Blues-Sänger. Brown war bekannt dafür, die Konsonanten auf eine besondere Weise zu rollen. Angeblich glaubte Herman Lubinsky, der Leiter von Savoy Records, beim erstmaligen Hören, Brown sänge auf Jiddisch.
Brown wuchs in Charlotte, North Carolina auf, wo er schon früh begann, Gospel zu singen. Später wurde er Leadsänger der Heavenly Lights, einer religiösen Band, die schließlich nach Newark (New Jersey) zog, um bei dem dort ansässigen Plattenlabel Savoy Records zu unterschreiben. 1954 trennte sich Brown dann von den Heavenly Lights um eine blues- und R&B-orientierte Solo-Karriere zu starten.
Unmittelbar nach Veröffentlichung seiner wenig erfolgreichen Debütsingle Is It True kam noch im gleichen Jahr, 1955, der Durchbruch mit Don't Be Angry. Bis Ende der 1950er Jahre erschien noch eine Reihe weiterer Singles, darunter Open up That Door, Little by Little, Piddily Patter Patter und The Right Time. Auf vielen von Browns Songs waren markante Saxophon-Solos von Größen wie Sam „The Man“ Taylor, Budd Johnson und Al Sears zu hören. Doch das Ende des Jahrzehntes stellte vorerst auch das Ende von Browns Musikkarriere dar.
Mitte der 1980er Jahre hatte Brown ein Comeback, als er 1984 mit den Heartfixers als Backing-Band das Blues-Album Tore Up veröffentlichte. Bis in die 1990er Jahre hinein veröffentlichte er regelmäßig Alben.
Brown starb am 20. September 2008 in seiner Heimatstadt Charlotte.

Napoleon Brown Goodson Culp[1] (October 12, 1929 – September 20, 2008)[2][3] better known by his stage name Nappy Brown, was an American R&B singer. His hits include the 1955 Billboard chart #2, "Don't Be Angry"[4] and "Night Time Is the Right Time". His style is instantly recognizable; Brown used a wide vibrato, melisma, and distinctive extra syllables, in particular, "li-li-li-li-li."

Biography

Brown was the son of Kathryn Culp and Sammie Lee Brown. After his mother died he was brought up by Fred and Maggie Culp. They attended Gethsemane AME Zion Church and he attended school in Charlotte, North Carolina.

Early career

He began his career singing gospel music before switching to R&B.[5] In 1954 he won a recording contract with Savoy Records, which yielded a series of hits, including "Don't Be Angry" (#2 R&B, #25 pop, 1955), "Pitter Patter" (#10 R&B, 1955), and "It Don't Hurt No More" (#8 R&B, #89 pop, 1958).[6] Brown was among the biggest stars in R&B,[7][8] frequently touring with the revues of Alan Freed.[9]

His songs, along with those of his peers and contemporaries (such as Little Richard, Chuck Berry, and Fats Domino), were among the first wave of African-American pop music to become noticed and popular with white audiences.[10] Elvis Presley reportedly used to see Brown perform whenever he appeared in Memphis.[5] In addition to Brown's influence on blues music, and 1950s R&B and pop, Brown's powerful and protean voice, combined with his distinctive emotive style, is widely viewed as a key link in the development of soul music.[8][11]

1980s comeback

In the early 1980s, a renewed interest in R&B led to some of Brown's early songs being released on European albums. At the urging of Bob Margolin, former guitarist for Muddy Waters's band and a fan of Brown, Brown returned to the music industry, beginning with a successful tour of Scandinavia in 1983.[12] In 1984, 14 years since his last recording, Brown signed with Landslide Records and released the album Tore Up[13] with The Heartfixers.[14][15] Other recordings followed.[16]

Brown's Savoy Records hit, "Piddly Patter" was featured in the John Waters film, Cry-Baby, starring Johnny Depp.[17]

Later life

Nappy Brown's final album, Long Time Coming, recorded in May 2007, on Blind Pig Records, was released on September 25, 2007. Reviews were overwhelmingly positive (4-1/2 stars from Allmusic);[18][19][20] the album and Brown were each nominated for a Blues Music Award (the genre's highest honor).[21] The album, produced by Scott Cable, featured the guitarists Sean Costello, Bob Margolin, Junior Watson, and other special guests including baritone saxophonist Joe Sunseri performing Brown's hits and several new songs. In the fall of 2007, Nappy Brown was Living Blues Magazine's September cover artist, and followed that honor with a European tour.[22] Brown was a musical guest on Garrison Keillor's Prairie Home Companion on October 20, 2007.[23]

At the ceremony for the Blues Music Awards in May 2008, Brown gave one last electrifying performance, capping an incredible comeback year.[24][25]

On June 1, 2008 following a performance at the Crawfish Festival in Augusta, New Jersey, Brown fell ill due to series of ailments and was hospitalized.[26] He died in his sleep on September 20, 2008 at Mercy Hospital in Charlotte, North Carolina.[3][27]

Brown was inducted into the Blues Hall of Fame on August 24, 2002.


Nappy Brown / That Man 














Charley Booker  +20.09.1989

 


http://www.wirz.de/music/bookcfrm.htm

Charley Booker (September 3, 1925 – September 20, 1989) was a blues singer and guitarist from the Mississippi Delta, who recorded in the early 1950s for Modern Records.
Charley Booker was born in 1925 on a plantation between the Mississippi communities of Moorhead and Sunflower, the son of Lucius Booker.[1] There is some doubt about his date of birth: while the 1925 birth date was given by Booker in interviews, social security records give the earlier date of September 3, 1919.[2]
He learned to play guitar from his uncle, who had played with Charley Patton, and Booker stated that as a child he had himself seen Patton perform near Indianola.[3] He worked occasionally as a musician from the late 1930s.[1] By the early 1940s Booker had moved to Leland, and in 1947 he moved to Greenville,[3] where he worked with pianist Willie Love,[1] and also met or worked with musicians such as Elmore James, Sonny Boy Williamson II, Little Milton, Ike Turner and Houston Boines. By 1951 he had his own radio show (possibly on the WDVM station), and in 1952 he was approached by Ike Turner to record for Modern Records.[3]
Recordings
The recording session was set up by Joe Bihari of Modern Records at the Club Casablanca on Nelson Street, Greenville[2] on January 23, 1952. Booker was backed by Houston Boines on harmonica, Turner on piano and Jesse "Cleanhead" Love on drums, with the same band also backing several songs by Boines.[4] Despite the piano being "horribly out of tune", and problems with local law enforcement,[5] the session resulted in two singles released under Booker's name, one on Modern Records and the other on the associated Blues & Rhythm label,[4] as well as releases by Boines. The Blues & Rhythm release, pairing "No Ridin' Blues" with "Rabbit Blues", sold strongly locally[3] but Booker did not record again for Modern, and a session later the same year for Sam Phillips was unreleased at the time.[4]
Later life and death
Early the following year he moved to South Bend, Indiana and ceased music as a full-time occupation.[3] Although he continued to play locally, his only further recording was a live guest appearance with Joe Willie Wilkins at a 1973 blues festival at Notre Dame in South Bend.[2] He died on September 30, 1989.


Charley Booker No Ridin' Blues (1952) 





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Samstag, 3. September 2016

03.09. Al Wilson, Dave Myers + Freddie King, Memphis Slim, Noah Lewis, Charley Booker, Billy Bizor *











1890 Noah Lewis* 1)
1913 Billy Bizor*
1915 Memphis Slim*
1925 Charley Booker*
1934 Freddie King*
1970 Al Wilson+
2001 Dave Myers+



1) Das genaue Datum ist dem Autor nicht bekannt

 

 

R.I.P.

 

Al Wilson  +03.09.1970

 




Alan „Blind Owl“ Christie Wilson (* 4. Juli 1943 in Boston, Massachusetts; † 3. September 1970 in Topanga, Kalifornien) war ein US-amerikanischer Sänger, Mundharmonikaspieler, Gitarrist und Komponist, der vor allem als Gründungsmitglied der Band Canned Heat bekannt war.
Wilson wuchs in seiner Heimatstadt Boston auf, studierte an der Boston University Musik und schloss dies mit einem Master ab. Er verdiente sich Geld hinzu, indem er in Cambridge in Cafés und Folk-Clubs auftrat, wie den bekannten Club 47 (später Club Passim), in dem damals bekannte Musiker wie Joan Baez, Bob Dylan, Tom Rush (oder später Suzanne Vega) auftraten.
Wilson galt als Blues-Historiker und -Plattensammler und schrieb während seines Studiums und danach verschiedene Artikel über Bluesmusiker für die Musikzeitschrift Broadside Of Boston, so auch über Robert Pete Williams und Son House.
Nachdem Son House 1964 von Dick Waterman, Nick Perls und Phil Spiro wiederentdeckt worden war, half ihm Wilson dabei, sich das Repertoire an Songs, das er in den 1930er und 1940er Jahren gespielt und aufgenommen, inzwischen aber vergessen hatte, neu zu erarbeiten. Zusammen veröffentlichten sie das Album Father of the Delta Blues (Columbia Records), bei dem Wilson auf einigen Stücken die zweite Gitarre oder Mundharmonika spielte.
1965 ging Wilson mit John Fahey auf eine unbedeutende Tournee von Boston nach Los Angeles. Von Fahey bekam Wilson den Spitznamen Blind Owl, da er dicke Brillengläser benötigte, um seine schwache Sehkraft auszugleichen. Später half Wilson Fahey bei dessen Masterarbeit über Charley Patton.
Über Fahey kam Wilson mit Bob Hite zusammen, mit dem er 1966 die Band Canned Heat gründete. Mit Canned Heat feierte er seine größten Erfolge. Er spielte die Leadgitarre, Mundharmonika, Piano und übernahm zusammen mit Hite den Gesang. Zusammen mit Canned Heat trat er 1967 beim Monterey Pop Festival und 1969 beim Woodstock-Festival auf. Seine hohe Tenorstimme gehört zu den wenigen, die bei der Dokumentation klar hörbar sind. Zu dieser Zeit galten er und Henry Vestine, laut dem Musikmagazin Downbeat, als das beste Gitarristen-Duo, wobei Vestine als der bessere Gitarrist und Wilson als der bessere Mundharmonikaspieler angesehen wurde.
Neben seiner Arbeit mit Canned Heat trat Wilson noch mit weiteren Musikern auf.
1969 traf Wilson zufällig Sunnyland Slim, mit dem er das Album Slim's Got His Thing Going On aufnahm und veröffentlichte. Neben ihm wirkten auch weitere bekannte Musiker wie Shakey Horton, Johnny Shines und Willie Dixon an dem Album mit.
1970 nahm er mit Son House bei einem Live-Auftritt im 100 Club, London, ein weiteres Album John The Revelator: The 1970 London Sessions auf.
Ebenfalls 1970 arbeitete Wilson mit seinem Vorbild John Lee Hooker zusammen und wirkte bei dem Album Hooker 'n' Heat mit, bei dem der Song The World Today entstand, den er am Piano begleitete.
Da Wilson mit seinem Erfolg nicht zurechtkam und sich übermäßig viele Sorgen um die Umwelt machte, verfiel er mehr und mehr in tiefe Depressionen und versuchte mehrfach sich umzubringen.
Im September 1970 starb Wilson im Alter von 27 Jahren in Topanga an einer Überdosis Barbiturate. Dies wird heute einvernehmlich als Selbstmord angesehen, obgleich er keinen Abschiedsbrief hinterlassen hat und es gemäß der Untersuchung auch eine versehentliche Überdosis gewesen sein könnte. Zudem galt er nicht als drogensüchtig, aber dafür als depressiv.
Trivia
Wilson war ein überzeugter Anhänger des Naturschutzes. So schrieb er 1969 das Lied Poor Moon zum Thema "Mondverschmutzung" und den Essay Grim Harvest über die Riesenmammutbaumwälder in Kalifornien, die von San Francisco bis nach Oregon reichen, welches im Inlay des Canned Heat Albums Future Blues abgedruckt ist.

Alan Christie Wilson (July 4, 1943 – September 3, 1970) was the leader, singer, and primary composer in the American blues band Canned Heat. He played guitar and harmonica, and wrote several songs for the band.
Early years
Wilson was born and grew up in the Boston suburb of Arlington, Massachusetts.[1] He majored in music at Boston University and often played the Cambridge coffeehouse folk-blues circuit. He acquired the nickname "Blind Owl" owing to his extreme nearsightedness.[2] In one instance when he was playing at a wedding, he laid his guitar on the wedding cake because he did not see it. As Canned Heat's drummer, Fito de la Parra, wrote in his book: "Without the glasses, Alan literally could not recognize the people he played with at two feet, that's how blind the 'Blind Owl' was." [3] Wilson wrote for a newspaper in Boston and was considered one of the foremost experts on the blues musicians who came before him. A dedicated student of early blues, his biggest influences included Skip James, Robert Johnson, Son House, Charley Patton, Tommy Johnson, John Lee Hooker, Muddy Waters and Booker White. James was the most exalted figure in Wilson's personal music journey. In high school, Wilson studied James' 1931 recordings with great fascination. It was around that time Wilson began singing similar to James' high pitch. Wilson eventually perfected the high tenor, for which he would become known.
Canned Heat
With Canned Heat, Wilson performed at two prominent concerts of the 1960s era, the Monterey Pop Festival in 1967 and Woodstock in 1969. Although Canned Heat's performance was cut from the original theatrical release of the Woodstock film, they were featured in the 25th anniversary "Director's Cut." The exception was "Going Up the Country," which was featured in the opening credits of the original Woodstock film.[4] It has been referred to as the festival's unofficial theme song. Wilson also wrote and sang the notable "On the Road Again." In an interview with Down Beat magazine he remarked that, "...on On The Road Again [second LP] I appear in six different capacities – three tamboura parts, harmonica, vocal, and guitar, all recorded at different times." [5]
Wilson was a passionate conservationist who loved reading books on botany and ecology. He often slept outdoors to be closer to nature. In 1969, he wrote and recorded a song, "Poor Moon", which expressed concern over potential pollution of the moon. He wrote an essay called 'Grim Harvest', about the coastal redwood forests of California, which was printed as the liner notes to the Future Blues album by Canned Heat.
After Eddie 'Son' House's 'rediscovery' in 1964, Wilson taught him how to play again the songs House had recorded in 1930 and 1942 (which he had forgotten over a long absence from music); House recorded for Columbia in 1965 and two of three selections featuring Wilson on harmonica and guitar appeared on the set. On the double album Hooker 'N Heat (1970), John Lee Hooker is heard wondering how Wilson is capable of following Hooker's guitar playing so well. Hooker was known to be a difficult performer to accompany, partly because of his disregard of song form. Yet Wilson seemed to have no trouble at all following him on this album. Hooker concludes that "you [Wilson] musta been listenin' to my records all your life". Hooker is also known to have stated "Wilson is the greatest harmonica player ever"
Stephen Stills' song "Blues Man" from the album Manassas is dedicated to Wilson, along with Jimi Hendrix and Duane Allman.
Death
On September 3, 1970 Wilson was found dead on a hillside behind band mate Bob Hite's Topanga Canyon house. He was 27 years old. An autopsy identified his cause of death as acute barbiturate intoxication.[6] Wilson reportedly had attempted suicide a few months earlier, attempting to drive his car off a freeway in Los Angeles. He was briefly hospitalized for significant Depression, and was released after a few weeks.[7] Although his death is sometimes reported as a suicide, this is not clearly established and he left no note.[8] Wilson's death came just two weeks before the death of Jimi Hendrix and four weeks before the death of Janis Joplin.
Wilson was interested in preserving the natural world, particularly the redwood trees. When he died so too did the Music Mountain organization he had initiated dedicated to this purpose.[9] In order to support his dream, Wilson’s family has purchased a “grove naming” in his memory through the Save the Redwoods League of California. The money donated to create this memorial will be used by the League to support redwood reforestation, research, education, and land acquisition of both new and old growth redwoods.













Dave Myers   +03.09.2001

 


The Aces waren eine der ersten und einflussreichsten Bands des elektrischen Chicago Blues. Sie kombinierten den ländlichen Country Blues aus dem Süden der Vereinigten Staaten mit Elementen des beschwingten Jazz, der in den 1940ern in Chicago gespielt wurde. Als Begleitband von Little Walter spielten sie in der ersten Hälfte der 1950er eine Reihe von Hits ein.
Bandgeschichte

Die Brüder Dave (1926–2001; Gitarre, Bass) und Louis Myers (1929–1994; Gitarre, Mundharmonika) kamen 1941 mit ihrer Familie aus Mississippi nach Chicago. Sie traten zusammen als „The Little Boys“ auf. Mit Junior Wells (1934–1998; Mundharmonika) als drittem Mann nannten sie sich zunächst „The Three Deuces“, dann „The Three Aces“. Anfang der 1950er kam der Schlagzeuger Fred Below (1926–1988) dazu und sie wurden „The Four Aces“, und schließlich einfach nur „The Aces“.[1]

1952 ging Wells zur Band von Muddy Waters. Little Walter, der gerade Muddy Waters verlassen hatte, engagierte die verbleibenden Aces als seine Begleitband und nannte sie „The Jukes“ („Little Walter & His Jukes“), in Anlehnung an den großen Erfolg seines Instrumentaltitels Juke. Mit Little Walter nahmen die Aces eine Reihe von Hits auf, darunter Mean Old World, Sad Hours, Off the Wall und Tell Me Mama.[1]

Mitte der 1950er verließen die früheren Aces-Mitglieder der Reihe nach die Band von Little Walter, um als Studiomusiker zu arbeiten. Neue Musiker in Walters Band waren u. a. Robert Lockwood Jr., Luther Tucker und Odie Payne. Die Myers-Brüder gingen in den 1970ern wieder als „The Aces“ auf Tour, Dave Myers gründete später „The New Aces“.

Celebrated among the principal architects of the classic Chicago blues sound, bassist Dave Myers was born October 30, 1926, in Byhalia, MS. He and guitarist brother Louis learned the blues from Lonnie Johnson, who lived in the family's basement. By his teens, Myers was a staple at local rent house parties alongside the likes of Sonny Boy Williamson, Robert Nighthawk, and Memphis Minnie. He and Louis relocated to Chicago in 1941, and four years later, the siblings formed the Little Boys, rechristened the Three Deuces with the addition of harpist Junior Wells.
The Windy City's first electric blues band, the group -- which next settled on the moniker the Three Aces -- quickly emerged as one of the most popular attractions on the local music scene, becoming a fixture at clubs, including the famed Checkerboard Lounge and Theresa's; greatly influenced by jazz, they honed an urbane, sophisticated approach well ahead of its time, with Myers' subtle, percussive rhythms earning him the nickname "Thumper." With the 1950 enlistment of drummer Fred Below, the quartet again changed its name, this time to the Four Aces; finally, to simplify matters once and for all, the group performed as simply the Aces. In 1952, Wells exited to join the Muddy Waters band, filling the vacancy created by the recent departure of harpist Little Walter Jacobs; ironically, Jacobs himself quickly signed the remaining Aces as his new backing unit, renaming the trio the Jukes. A series of seminal recordings followed -- "Mean Old World," "Sad Hours," "Off the Wall," and "Tell Me Mama" among them -- before Louis' 1954 exit resulted in the Jukes' gradual dissolution.
You Can't Do That
The first bluesman to adopt the electric bass, Dave Myers then became Chicago's premiere session bassist throughout the 1950s, appearing on sessions headlined by everyone from Otis Rush to Earl Hooker. In 1970, the Myers brothers and Below reunited under the Aces moniker in 1970 to tour Europe before once again going their separate ways. Dave later formed the New Aces with Fabulous Thunderbirds frontman Kim Wilson, guitarist Robert Jr. Lockwood (Louis' replacement in the Jukes), and drummer Kenny Smith. Though preferring sideman duties throughout his career, in 1998, Dave Myers finally headlined his first solo effort, the Black Top label release You Can't Do That. Despite the 2000 amputation of a leg due to complications from diabetes, Myers still performed regularly in the months to follow, making his final public appearance in February of 2001; he died September 3 of that year at the age of 74.  
http://www.allmusic.com/artist/dave-myers-mn0000962487/biography 



Dave Myers - Blues Special Club - Buenos Aires - Argentina (1998) P.2 











Happy Birthday

 

Freddie King   *03.09.1934

 


Freddie King (* 3. September 1934 in Gilmer, Texas; † 28. Dezember 1976 in Dallas, Texas) war ein Bluesmusiker und einer der „drei Kings des elektrischen Blues“, neben Albert King und B. B. King. Sein Stil beeinflusste Eric Clapton, Mick Taylor, Stevie Ray Vaughan und Lonnie Mack u.a. Zudem war er einer der ersten Bluesmusiker, der mit einer Band aus Schwarzen und Weißen spielte.
Freddie King wurde als Frederick Christian geboren und erhielt seinen ersten Gitarrenunterricht von seiner Mutter und seinem Onkel. Ursprünglich spielte er ländlichen akustischen Blues in der Nachfolge von Lightnin’ Hopkins, aber schon als Teenager fühlte er sich vom raueren Chicago Blues angezogen.[1] Er ging im Jahr 1950 mit seiner Familie nach Chicago und gründete bald seine eigene Band, The Every Hour Blues Boys, später spielte er mit Bands von Little Sonny Cooper und Hound Dog Taylor zusammen. Vermutlich durch den Einfluss von Hound Dog Taylor entwickelte Freddie King in dieser Zeit seinen rauen Bluesstil auf der elektrischen Gitarre.
Im Jahr 1960 nahm Freddie King die Bluessongs auf, die später zu seinen kommerziellen Erfolgen wurden. Hierzu gehören sowohl Instrumentalstücke wie The Stumble, das Peter Green auf der John-Mayall-Produktion A Hard Road eindrucksvoll arrangierte, und San-Ho-Zay, aber auch gesungene Blues-Titel wie Have You Ever Loved a Woman und I’m Tore Down, das später von Eric Clapton übernommen wurde und bei Blues-Perioden (From the Cradle) immer wieder präsentiert wird. Damit erschloss King seine Musik auch dem Rockpublikum. Zu den Standards Freddie Kings gehört auch das unverkennbare Hideaway, ein Instrumentalstück, das von Eric Clapton (zuletzt auf John Mayalls 70th-Birthday-Konzert in Liverpool) sowie von Johnny Winter in der Produktion Live in NYC ’97 arrangiert wurde. Benannt wurde das Stück nach einer der angesagtesten Bars in Chicago. In den 1960er- Jahren gehörte das Stück zum Pflichtrepertoire jeder Blues – und Bluesrockband.[2]
Nach weiteren Aufnahmen im Jahr 1964 wurde es stiller um King. Erst Anfang 1970 spielte er unter der Leitung von Leon Russell Titel wie Going Down Slow und Me and my Guitar ein. Auf der Höhe seines internationalen Erfolgs erlitt er während eines Konzerts im Dezember 1976 einen Herzanfall, an dem er kurz darauf verstarb.
Auszeichnungen
Der 3. September 1993 wurde vom Gouverneur Ann Richards zum Freddie King Day erklärt, eine Auszeichnung, die nur an texanische Legenden vergeben wird. (z. B. Buddy Holly) [3]
Das Rolling Stone Magazin setzte ihn auf Platz 25 der 100 besten Gitarristen aller Zeiten.[4]

Freddie King (September 3, 1934 – December 28, 1976) was an influential American blues guitarist and singer. He is often mentioned as one of "the Three Kings" of electric blues guitar along with Albert King and B.B. King.[1]

Freddie King based his guitar style on Texas and Chicago influences and was one of the first bluesmen to have a multi-racial backing band at live performances. He is best known for singles such as "Have You Ever Loved A Woman" (1960) and his Top 40 hit "Hide Away" (1961). He is also known for albums such as the early, instrumental-packed Let's Hide Away and Dance Away with Freddy King (1961) and the later album Burglar (1974) which displayed King's mature versatility as both player and singer in a range of blues and funk styles.[2]

King became an influential guitarist with hits for Federal Records in the early 1960s. He inspired musicians such as Jerry Garcia, Dickey Betts, Stevie Ray Vaughan and his brother Jimmie Vaughan.[3] His influence was also felt in Britain through recordings by blues artists such as Eric Clapton,[4] Peter Green,[5] and Chicken Shack. He was inducted into the Rock and Roll Hall of Fame in 2012.

Biography
Early life

When King was only six, his mother Ella Mae King and his uncle began teaching Freddie guitar. In autumn 1949, King and his family moved from Dallas to the South Side of Chicago.[6] In 1952 King started working in a steel mill, the same year he married fellow Texas native Jessie Burnett, with whom he eventually had seven children.[7][8]

According to his official birth certificate he was named "Fred King" at birth and his parents were Ella Mae King and J.T. Christian.[9]

1950s

Almost as soon as he had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with guitarist Jimmie Lee Robinson and drummer Frank "Sonny" Scott. In 1952, while employed at the steel mill, an eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s went on, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including guitarists Jimmy Rogers, Robert Lockwood, Jr., Eddie Taylor, Hound Dog Taylor, bassist Willie Dixon, pianist Memphis Slim, and harpist Little Walter.

In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,",[10] and the B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these same years was also adding rhythm backing and fills to Little Walter's records.[11]

King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was home to Muddy, Wolf, and Walter. The complaint was that Freddie King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. Bassist and producer Willie Dixon, during a late 1950s period of estrangement from Chess, had King come to Cobra Records for a session, but the results have never been heard. Meanwhile, King established himself as perhaps the biggest musical force on the West Side. King played along with Magic Sam and supposedly did uncredited backing guitar on some of Sam's tracks for Mel London's Chief and Age labels,[12] though King does not stand out anywhere.

Federal records

In 1959 King got to know Sonny Thompson, pianist, producer, and A&R man for Cincinnati's King Records and King owner Syd Nathan signed King to the subsidiary Federal label in 1960. King recorded his debut single for the label on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" (again as "Freddy" King). From the same recording session at the King Studios in Cincinnati, Ohio, King cut the instrumental "Hide Away," which the next year reached #5 on the R&B Charts and #29 on the Pop Singles Charts, an unprecedented accomplishment for a blues instrumental at a time when the genre was still largely unknown to white audiences. "Hide Away" was originally released as the B-side of "I Love the Woman". "Hide Away" was King's conglomeration of a theme by Hound Dog Taylor and parts by others, such as from "The Walk" by Jimmy McCracklin and "Peter Gunn", as credited by King. The song's title comes from Mel's Hide Away Lounge, a popular blues club on the West Side of Chicago.[13] Willie Dixon later claimed that he had recorded King doing "Hide Away" for Cobra Records in the late 1950s, but such a version has never surfaced.[14] "Hide Away" has since become a blues standard.

After their success with "Hide Away," King and Sonny Thompson recorded thirty instrumentals, including "The Stumble," "Just Pickin'," "Sen-Sa-Shun," "Side Tracked," "San-Ho-Zay," "High Rise," and "The Sad Nite Owl".[15][16] Vocal tracks continued to be recorded throughout this period, but often the instrumentals were marketed on their own merits as albums. During the Federal period King toured with many of the R&B acts of the day such as, Sam Cooke, Jackie Wilson and James Brown, who performed in the same concerts.

Cotillion, Shelter, RSO Records

King's contract with Federal expired in 1966, and his first overseas tour followed in 1967. King's availability was noticed by producer and saxophonist King Curtis, who had recorded a cover of "Hide Away," with Cornell Dupree on guitar in 1962. Curtis signed King to Atlantic in 1968, which resulted in two LPs, Freddie King Is a Blues Master (1969) and My Feeling for the Blues (1970), produced by Curtis for the Atlantic subsidiary Cotillion Records.[17]

In 1969 King hired Jack Calmes as his manager, who secured him an appearance at the 1969 Texas Pop Festival, alongside Led Zeppelin and others,[18] and this led to King's being signed to Leon Russell's new label, Shelter Records. The company treated King as an important artist, flying him to Chicago to the former Chess studios for the recording of Getting Ready and gave him a backing line-up of top session musicians, including rock pianist Leon Russell.[19] Three albums were made during this period, including blues classics and new songs like, "Goin' Down" written by Don Nix.[20]

King performed alongside the big rock acts of the day, such as Eric Clapton[21] and Grand Funk Railroad (whose song "We're an American Band" mentions King in its lyrics) and for a young, mainly white audience, along with white tour drummer Gary Carnes for three years, before signing to RSO. In 1974 he recorded Burglar, for which Tom Dowd produced the track "Sugar Sweet" at Criteria Studios in Miami, with guitarists Clapton and George Terry, drummer Jamie Oldaker and bassist Carl Radle. Mike Vernon produced all the other tracks.[22] Vernon also produced a second album Larger than Life[23] with King, for the same label. Vernon brought in other notable musicians for both albums such as Bobby Tench of the Jeff Beck Group, to complement King[24]

Death

Near-constant touring took its toll on King (he was on the road almost 300 days out of the year), and in 1976 he began suffering stomach ulcers. His health quickly deteriorated and he died on December 28 of complications from that and acute pancreatitis at the age of 42.[25]

According to those who knew him, King's untimely death was due to stress, a legendary 'hard-partying lifestyle',[26][27] and poor diet (he was in the habit of consuming Bloody Marys in lieu of solid food so as not to waste time when setting up shows).

Playing style and technique

King had an intuitive style, often creating guitar parts with vocal nuances.[28] He achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side, Chicago blues. As King combined both the Texas and Chicago sounds, this gave his music a more contemporary outlook than many Chicago bands who were still performing 1950s-style music, and he befriended the younger generation of blues musicians. In his early career he played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-355 guitars,[29] using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style he learned from Jimmy Rogers. He had a relatively more aggressive and creative style of improvisation than others such as, B.B. King and Albert King, considered by many to be a more exploratory and less traditional approach. Despite an often avowed desire to play slide guitar, King confessed that he could not due to his large fingers preventing him from a light enough touch.[citation needed]

King was always progressive with his blues playing style. His early instrumental hits (Federal/King Label) help coin the term "Pop Blues" King 70's recordings with Shelter and RSO Records showcased his powerhouse Rock Blues style.

Awards and recognition

In 1993 by proclamation from the Texas Governor Ann Richards September 3, 1993, was declared Freddie King Day. This is an honor reserved for Lone Star legends, such as Bob Wills and Buddy Holly.[30] Freddie King placed 15th in Rolling Stone magazine′s list of the 100 greatest guitarists of all time[31] and in 2012, he was inducted into the Rock and Roll Hall of Fame.




Freddie King Live in Europe 1973 & 1974






 

 

 

 

 

Memphis Slim   *03.09.1915

 

 

 

http://mattizwoo.blogspot.de/2013/07/memphis-slim.html 

 

Memphis Slim (* 3. September 1915 in Memphis, Tennessee; † 24. Februar 1988 in Paris, Frankreich) war ein US-amerikanischer Blues-Sänger und -Pianist.
Als John Len Chatman geboren, spielte Memphis Slim seine ersten Plattenaufnahmen am 2. August 1940 für das Okeh-Label unter dem Namen Peter Chatman (& His Washboard Band) ein. Bereits die Ergebnisse seiner zweiten Plattensession (am 30. Oktober 1940 für das Label Bluebird) wurden unter seinem lebenslang beibehaltenen Künstlernamen Memphis Slim veröffentlicht.
Das musikalische Vorbild des jungen Musikers war sein Vater, ein Gitarren- und Klavierspieler, von dem er bereits im Alter von sieben oder acht Jahren das Klavierspielen lernte.
Ende der 1930er Jahre ging Memphis Slim nach Chicago. Dort begleitete er Big Bill Broonzy, Sonny Boy Williamson II. und Washboard Sam. 1940 nahm er erste eigene Platten auf. Unter dem Titel Nobody Loves Me (B-Seite von Angel Child) nahm er eine Version vom Bluesklassiker Everyday I Have the Blues am 10. Oktober 1947 zusammen mit seinen The House Rockers auf. Sie erschien erstmals im Oktober 1949 bei dem kurzlebigen Label Miracle Records (# 145). Die A-Seite erreichte Rang sechs der Rhythm & Blues-Hitparade, die B-Seite wurde als seine Komposition ausgegeben, stammte in Wirklichkeit jedoch aus der Feder von Aaron Sparks.
In den nächsten Jahren wurde er nicht nur in den USA populär. Als einer der ersten Bluesmusiker unternahm Memphis Slim ausgedehnte Welttourneen. Zusammen mit Willie Dixon trat er in Israel auf und mit Muddy Waters in der New Yorker Carnegie Hall (1959, CD: Chicago Blues Masters, Vol.1, Capitol Records). In den 50ern entstanden auch einige Singles für das Label United.
Nach einer Europatour 1962 mit dem American Folk Blues Festival entschloss sich Memphis Slim nach Frankreich zu ziehen. Dort lebte er bis zu seinem Tod 1988.
Begraben liegt der Musiker im Galilee Memorial Gardens Cemetery, 8283 Ellis Road, Memphis, Tennessee.
1989 wurde Memphis Slim in die Blues Hall of Fame aufgenommen.

Memphis Slim (September 3, 1915 – February 24, 1988) was an American blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump blues, included saxophones, bass, drums, and piano. A song he first cut in 1947, "Every Day I Have the Blues", has become a blues standard, recorded by many other artists. He made over 500 recordings.

Biography

Memphis Slim's birth name was John Len Chatman, and he was born in Memphis, Tennessee, United States. His father, Peter Chatman sang, played piano and guitar, and operated juke joints,[1] and it is now commonly believed that he took the name to honor his father when he first recorded for Okeh Records in 1940. Although he started performing under the name Memphis Slim later that same year, he continued to publish songs under the name Peter Chatman.

He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in West Memphis, Arkansas, and southeast Missouri. He settled in Chicago in 1939, and began teaming with Big Bill Broonzy in clubs soon afterward. In 1940 and 1941 he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman," and "Grinder Man Blues." These were released under the name "Memphis Slim," given to him by Bluebird's producer, Lester Melrose.[2] Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee "Sonny Boy" Williamson, Washboard Sam, and Jazz Gillum. Many of Slim's recordings and performances until the mid-1940s were with guitarist and singer Broonzy, who had recruited Slim to be his piano player after Joshua Altheimer's death in 1940.

After World War II, Slim began leading bands that, reflecting the popular appeal of jump-blues, generally included saxophones, bass, drums, and piano. With the decline of blues recording by the majors, Slim worked with the emerging independent labels. Starting in late 1945, he recorded with trios for the small Chicago-based label Hy-Tone.[3] With a lineup of alto saxophone, tenor sax, piano, and string bass (Willie Dixon played the instrument on the first session), he signed with the Miracle label in the fall of 1946. One of the numbers recorded at the first session was the ebullient boogie "Rockin' the House," from which his band would take its name. Slim and the House Rockers recorded mainly for Miracle through 1949, enjoying commercial success. Among the songs they recorded were "Messin' Around" (which reached number one on the R&B charts in 1948 and "Harlem Bound."[4] In 1947, the day after producing a concert by Slim, Broonzy, and Williamson at New York City's Town Hall, folklorist Alan Lomax brought the three musicians to the Decca studios and recorded with Slim's on vocal and piano. Lomax presented sections of this recording on BBC radio in the early 1950s as a documentary titled The Art of the Negro, and later released an expanded version as the LP Blues in the Mississippi Night. In 1949, Slim expanded his combo to a quintet by adding a drummer; the group was now spending most of its time on tour, leading to off-contract recording sessions for King in Cincinnati and Peacock in Houston.

One of Slim's 1947 recordings for Miracle, released in 1949, was originally titled "Nobody Loves Me". It has become famous as "Every Day I Have the Blues." The tune was recorded in 1950 by Lowell Fulson, and subsequently by a raft of artists including B. B. King, Elmore James, T-Bone Walker, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, John Mayer and Lou Rawls.[5] Joe Williams recorded it in 1952 for Checker; his remake from 1956 (included in Count Basie Swings, Joe Williams Sings) was inducted in the Grammy Hall of Fame in 1992.[6]

Early in 1950, Miracle succumbed to financial troubles, but its owners regrouped to form the Premium label, and Slim remained on board until the successor company faltered in the summer of 1951. His February 1951 session for Premium saw two changes in the House Rockers' lineup: Slim started using two tenor saxophones instead of the alto and tenor combination, and he made a trial of adding guitarist Ike Perkins. His last session for Premium kept the two-tenor lineup but dispensed with the guitar. During his time with Premium, Slim first recorded his song "Mother Earth".[7]

Slim made just one session for King, but the company bought his Hy-Tone sides in 1948 and acquired his Miracle masters after it failed in 1950. He was never a Chess artist, but Leonard Chess bought most of the Premium masters after the failure.

After a year with Mercury Records, Slim signed with United Records in Chicago;[8] the A&R man, Lew Simpkins, knew him from Miracle and Premium. The timing was propitious, because he had just added Matt "Guitar" Murphy to his group. He remained with United through the end of 1954, when the company began to cut back on blues recording.[9]

Slim's next steady relationship with a record company had to wait until 1958, when he was picked up by Vee-Jay. In 1959 his band, still featuring Matt "Guitar" Murphy, cut LP Memphis Slim at the Gate of the Horn, which featured a lineup of his best known songs, including "Mother Earth," "Gotta Find My Baby," "Rockin' the Blues," "Steppin' Out", and "Slim's Blues."[10]

Slim first appeared outside the United States in 1960, touring with Willie Dixon, with whom he returned to Europe in 1962 as a featured artist in the first of the series of American Folk Festival concerts organized by Dixon that brought many notable blues artists to Europe in the 1960s and 1970s. The duo released several albums together on Folkways Records, including, Memphis Slim and Willie Dixon at the Village Gate with Pete Seeger, in 1962. That same year, he moved permanently to Paris and his engaging personality and well-honed presentation of playing, singing, and storytelling about the blues secured his position as one of the most prominent blues artists for nearly three decades. He appeared on television in numerous European countries, acted in several French films and wrote the score for À nous deux France (1970), and performed regularly in Paris, throughout Europe, and on return visits to the United States. In the last years of his life, he teamed up with respected jazz drummer George Collier. The two toured Europe together and became friends. After Collier died in August 1987, Slim rarely appeared in public, although he reunited with Matt "Guitar" Murphy for a gig at Antoine's in Austin in 1987.

Two years before his death, Slim was named a Commander in the Ordre des Arts et des Lettres by the Ministry of Culture of the Republic of France. In addition, the U.S. Senate honored Slim with the title of Ambassador-at-Large of Good Will.[11]
Memphis Slim grave

Memphis Slim died on February 24, 1988, of renal failure in Paris, France, at the age of 72. He is buried at Galilee Memorial Gardens in Memphis, Tennessee.[12]

In 1989, he was posthumously inducted into the Blues Hall of Fame.
memphis slim & sonny boy williamson blues legende live in europe 


https://www.youtube.com/watch?v=2pVp7Vj4r_M 



Memphis Slim & Kansas Field - Rocking The House 


https://www.youtube.com/watch?v=y7NaUIlV3X8 










Noah Lewis   *03.09.1890 or 1895

 

Cannon's Jug Stompers with Noah Lewis on right

Noah Lewis (* 3. September 1895 in Henning, Tennessee; † 7. Februar 1961) war einer der zentralen Musiker der amerikanischen Jugband-Szene der 1920er und 1930er. Er war ein Virtuose auf der Mundharmonika, und ihm werden etliche bekannte Songs zugeschrieben, zum Beispiel Viola Lee Blues (später von Grateful Dead aufgenommen) und Going To Germany.
In Memphis (Tennessee) schloss sich Lewis Cannon’s Jug Stompers an, die Ende der 1920er einige erfolgreiche Aufnahmen machten, darunter Walk Right In, das 1963 von den Rooftop Singers neu interpretiert wurde. Gus Cannon erzählte später in einem Interview: „Noah war immer voller Kokain; ich vermute, dass er deswegen so laut spielen konnte. Und er war richtig gut.“
Ab 1929 machte Lewis Aufnahmen unter eigenem Namen und mit eigener Band. Später spielte er unter anderem mit Yank Rachell und John Estes. Mit der Depression kam das Ende der Jugband-Ära, und auch Lewis geriet in Vergessenheit. Noah Lewis lebte zuletzt in ärmlichsten Verhältnissen. Er starb 1961 an den Folgen schwerer Erfrierungen.

Noah Lewis (September 3, 1890 or 1895 – February 7, 1961)[1][2] was an American jug band and country blues[3] musician, generally known for playing the harmonica.

Life and career

Lewis was born in Henning, Tennessee, United States, his birth year being variously cited as 1890 or 1895.[1][2] Lewis learned to play harmonica as a child and moved to Memphis, Tennessee in his early teens. By the time he first met Gus Cannon in Memphis in 1907, he was already a respected original stylist on the instrument, noted for his liquid tone and breath control, which allowed him to generate enormous volume from the instrument. By then he was also noted for his ability to play two harmonicas at once – one through his mouth and one through his nose, a trick he probably taught to Big Walter Horton, who recorded briefly as a teenager with the Memphis Jug Band some 20 years later. Lewis developed his unusual levels of breath control and volume from playing in local string and brass marching bands on the streets of Memphis. At the 1907 meeting Lewis introduced Cannon to the 13-year-old guitarist and singer, Ashley Thompson, with whom Lewis had been playing in the streets of Ripley and Memphis for some time and the three of them worked together over the next 20 years whenever Cannon was in Memphis, and not away working medicine and tent shows. When Will Shade's Memphis Jugband recorded and became popular in the late-1920s, Cannon added a coal-oil can on a rack round his neck and renamed the trio (Cannon, Lewis and Thompson) Cannon's Jug Stompers, and it was this line-up that recorded for the first time on Victor Records in Memphis on 30 January 1928.[1] The songs from that session included "Minglewood Blues", "Springdale Blues", "Big Railroad Blues" and "Madison Street Rag". By the time of the band's next recording on September 5, 1928, Cannon had replaced Ashley Thompson with Elijah Avery on banjo and guitar. However, by time of the band's third recording session, four days later, Avery had in turn been replaced with an old friend of Cannon's from the medicine and tent show circuit, the six string banjo player and guitarist, Hosea Woods, with the band's line-up remaining unchanged from then on.

With the Jug Stompers, on "Viola Lee Blues", Lewis sang lead vocal and played a melancholy harmonica solo.[4]

Lewis recorded four solo tracks, and another four sides as the Noah Lewis Jug Band in 1930, the latter incorporating Sleepy John Estes (guitar) and Yank Rachell (mandolin).[2]

Death

He died in poverty of gangrene brought on by frostbite in Ripley, Tennessee, in 1961.[1] Lewis is buried in a cemetery near Nutbush, Tennessee.[5] After his death, several of his songs become part of the repertoire of the Grateful Dead, including "New, New Minglewood Blues", "Viola Lee Blues", and "Big Railroad Blues".


Noah Lewis's Jug Band New Minglewood Blues (1930) 









Charley Booker  *03.09.1925

 

http://www.snipview.com/q/Delta_blues_musicians

Charley Booker (September 3, 1925 – September 20, 1989) was a blues singer and guitarist from the Mississippi Delta, who recorded in the early 1950s for Modern Records.
Charley Booker was born in 1925 on a plantation between the Mississippi communities of Moorhead and Sunflower, the son of Lucius Booker.[1] There is some doubt about his date of birth: while the 1925 birth date was given by Booker in interviews, social security records give the earlier date of September 3, 1919.[2]
He learned to play guitar from his uncle, who had played with Charley Patton, and Booker stated that as a child he had himself seen Patton perform near Indianola.[3] He worked occasionally as a musician from the late 1930s.[1] By the early 1940s Booker had moved to Leland, and in 1947 he moved to Greenville,[3] where he worked with pianist Willie Love,[1] and also met or worked with musicians such as Elmore James, Sonny Boy Williamson II, Little Milton, Ike Turner and Houston Boines. By 1951 he had his own radio show (possibly on the WDVM station), and in 1952 he was approached by Ike Turner to record for Modern Records.[3]
Recordings
The recording session was set up by Joe Bihari of Modern Records at the Club Casablanca on Nelson Street, Greenville[2] on January 23, 1952. Booker was backed by Houston Boines on harmonica, Turner on piano and Jesse "Cleanhead" Love on drums, with the same band also backing several songs by Boines.[4] Despite the piano being "horribly out of tune", and problems with local law enforcement,[5] the session resulted in two singles released under Booker's name, one on Modern Records and the other on the associated Blues & Rhythm label,[4] as well as releases by Boines. The Blues & Rhythm release, pairing "No Ridin' Blues" with "Rabbit Blues", sold strongly locally[3] but Booker did not record again for Modern, and a session later the same year for Sam Phillips was unreleased at the time.[4]
Later life and death
Early the following year he moved to South Bend, Indiana and ceased music as a full-time occupation.[3] Although he continued to play locally, his only further recording was a live guest appearance with Joe Willie Wilkins at a 1973 blues festival at Notre Dame in South Bend.[2] He died on September 30, 1989.


Charley Booker No Ridin' Blues (1952) 


https://www.youtube.com/watch?v=ttV31MDlFFM    









Billy Bizor  *03.09.1913

 

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=13913461

Billy Bizor (* 3. September 1913 in Centerville, Texas; † 4. April 1969 in Houston, Texas) war ein US-amerikanischer Blues-Sänger und -Bluesharp-Spieler. Er gilt als Vertreter des Texas Blues und war musikalisch wie verwandtschaftlich eng mit dem Blues-Sänger Lightnin' Hopkins verbunden.
Leben und Musik
Billy Bizor wurde ebenso wie sein Cousin Lightnin' Hopkins in Centerville geboren. Im Gegensatz zu diesem war er jedoch kein professioneller Musiker. Seine frühesten Aufnahmen stammen aus den frühen sechziger Jahren, bei denen er als Begleitmusiker für seinen Cousin fungierte. Diese Aufnahmen wurden bei Prestige Records für den damals blühenden Folk-Markt produziert. Die sporadische Zusammenarbeit mit Hopkins bescherte Bizor nur bescheidenen Erfolg: So trat er zusammen mit Hopkins in dem Film des Dokumentarfilmers Les Blank The Blues According To Lightning Hopkins auf und nahm im gleichen Zeitraum 1968/69 seine einzigen Solo-Aufnahmen für den in Houston, Texas ansässigen Schallplatten-Produzenten Roy Ames auf. Noch ehe diese Aufnahmen unter dem Titel „Blowing my Blues away“ veröffentlicht wurden, verstarb Bizor an den Folgen von Wassersucht. Bei diesen Sessions wurde Billy Bizor u.a. von Lightnin' Hopkins, Donald Dunn und Clarence Holliman begleitet.

The blues revival of the 1960s allowed the spotlight to finally fall on performers like Billy Bizor, an otherwise obscure harpist best known in conjunction with his recordings in support of his cousin, the renowned Lightnin' Hopkins. Born in Centerville, Texas in 1917, Bizor (also, variously, Bizer and Biser) dwelled in almost total obscurity prior to the 1960s, developing a spare, haunted sound largely unaffected by the passage of time, making him a prime candidate for rediscovery by purists. Among his first recordings were a series of unheralded early-1960s dates backing Hopkins; between 1968 and 1969, Bizor cut his only solo session in Houston with producer Roy Ames, revealing him to be an intense, emotionally charged singer. Eventually issued as Blowing My Blues Away, the end result went unreleased for several years; tragically, Bizor himself never saw the recordings come to light -- he died April 4, 1969. 


Billy Bizor -Tell Me Where You Stayed Last Night 


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