1898 Dewey Corley*
1930 Jerry McCain*
1938 Don „Sugarcane“ Harris*
1950 Roderick Morris Buckenham "Rod" de'Ath*
1974 Shirley Griffith+
1982 Nathan Cavaleri*
1993 Luther Tucker+
1930 Jerry McCain*
1938 Don „Sugarcane“ Harris*
1950 Roderick Morris Buckenham "Rod" de'Ath*
1974 Shirley Griffith+
1982 Nathan Cavaleri*
1993 Luther Tucker+
Happy Birthday
Don „Sugarcane“ Harris *18.06.1938
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Don „Sugarcane“ Francis Bowman Harris[1] (* 19. Juni 1938 in Pasadena, Kalifornien; † 30. November 1999 in Los Angeles) war ein US-amerikanischer Violinist und Gitarrist. Als Violinist nahm er Anfang der 1970er Jahre im Fusionjazz eine führende Stellung ein, spielte aber auch Jazz, Blues und Rock.
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Harris war kreolisch-indianisch-afroamerikanischer Abstammung und wuchs in Pasadena auf. Er erhielt klassischen Geigenunterricht. In den 1950er Jahren spielte er als Gitarrist mit seinem Jugendfreund Dewey Terry in der Gruppe „The Squires“, die verschiedene Singles veröffentlichte. Von 1957 bis etwa 1967 bildeten er und Terry das Duo „Don and Dewey“, das auf dem Label Specialty Records einige Singles herausbrachte, die 1974 zu einem Album zusammengestellt wurden. Harris und Terry waren Ko-Autoren der frühen Rock-and-Roll-Klassiker „Justine“, „Farmer John“, „Leaving It All Up to You“ und „Big Boy Pete“. Diese Stücke wurden mit anderen Interpreten wie den Righteous Brothers zu Hits. Als der Erfolg für Don and Dewey ausblieb, trennte sich das Duo.Harris wandte sich danach der elektrisch verstärkten Violine zu. Ab Ende der 1960er Jahre war er als Gastmusiker bei John Mayall and the Bluesbreakers, Little Richard, John Lee Hooker und Johnny Otis zu hören. Für Frank Zappa und The Mothers of Invention wirkte er an den Aufnahmen zu den Alben Hot Rats, Burnt Weeny Sandwich, Weasels Ripped My Flesh, Chunga’s Revenge, Apostrophe (’) und The Lost Episodes mit.[2] Harris gehörte außerdem zwei Besetzungen der zappaschen Hot-Rats-Liveband an.[3] Zappa hielt die Don-and-Dewey-Single „Soul Motion“ für eine der besten Rhythm-and-Blues-Platten aller Zeiten.[4]
Mit dem Schlagzeuger Paul Lagos und den Gitarristen Harvey Mandel und Randy Resnick spielte er Anfang der 1970er Jahre in der Gruppe „Pure Food and Drug Act“ zusammen, die 1972 das Album Choice Cuts herausbrachte.[5]
1971 wurde Harris von Joachim Ernst Berendt zum „New Violin Summit“ eingeladen, das am 7. November während der Berliner Jazztage stattfand; an diesem Geiger-Gipfeltreffen, dessen Aufnahmen größtenteils von dem Plattenlabel MPS als gleichnamiges Album veröffentlicht wurden,[6] nahmen auch Jean-Luc Ponty, Michal Urbaniak und der Sinto Nipso Brandner teil. Harris' vorhergehender Jazztage-Auftritt am 5. November mit der Sugar Cane Harris Group unter Beteiligung von Volker Kriegel und Wolfgang Dauner wurde ebenfalls von MPS unter dem Titel Sugar Cane's Got the Blues[7] veröffentlicht. Die darauf zu findende eindringliche Version von Horace Silvers „Song for My Father“ stammt allerdings aus dem Mitschnitt des Summit-Auftritts. Bei der mit Berendt zusammenarbeitenden Plattenfirma MPS entstanden in den Folgejahren einige Platten von unterschiedlicher Qualität, unter denen das Album Fiddler on the Rock positiv auffällt.
Danach wurde es eine Zeit lang still um Harris. Erst in den späten 1970er-Jahren ging er als Mitglied der John-Mayall-Band erneut auf Tournee. Aufgrund seines Drogenmissbrauchs hatte er zunehmend psychische Probleme. Anfang der 1980er Jahre war er in Los Angeles für kurze Zeit Mitglied der experimentellen Rockband „Tupelo Chain Sex“, anschließend ging er noch einmal mit Don & Dewey auf Tournee.
Der seit längerem lungenkranke Musiker wurde am 1. Dezember 1999 in seiner Wohnung im Süden von Los Angeles tot aufgefunden.
http://de.wikipedia.org/wiki/Don_%E2%80%9ESugarcane%E2%80%9C_Harris
Don Francis Bowman Harris (June 18, 1938[1] – November 30, 1999), known as Don "Sugarcane" Harris, was an American rock and roll violinist and guitarist.
Biography
Harris was born and raised in Pasadena, California, and started an act called Don and Dewey with his childhood friend Dewey Terry in the mid 1950s. Although they were recorded by Art Rupe on his Specialty label, mostly utilizing the services of legendary drummer Earl Palmer, Don and Dewey didn't have any hits. However, Harris and Terry co-authored such early rock and roll classics as "Farmer John", "Justine", "I'm Leaving It Up to You", and "Big Boy Pete," all of which became hits for other artists.
Harris was given the nickname "Sugarcane" by bandleader Johnny Otis and it was to remain with him throughout his life.
After separating from Dewey Terry in the 1960s, Harris moved almost exclusively over to the electric violin. He was to reappear as a sideman with John Mayall & the Bluesbreakers and Frank Zappa, most recognized for his appearances on Hot Rats, and on the Mothers of Invention albums Burnt Weeny Sandwich and Weasels Ripped My Flesh. His lead vocal and blues violin solo on a cover of Little Richard's "Directly From My Heart to You" on Weasels, and his extended solo on the lengthy "Little House I Used To Live In" on Weeny are considered highlights of those albums. Reportedly, he was rescued from a jail term by Zappa. Zappa had long admired Harris's playing and bailed him out of prison, resurrecting his career and ushering in a long period of creativity for the forgotten violin virtuoso. He played a couple of live concerts with Zappa's band in 1969.
During the early 1970s, Sugarcane fronted the Pure Food and Drug Act which included drummer Paul Lagos, guitarists Harvey Mandel and Randy Resnick, and bassist Victor Conte, who was the founder of the Bay Area Laboratory Co-operative (BALCO). Conte replaced Larry Taylor who was the original bass player. His first solo album (with back cover art by underground poster artist Rick Griffin) is a forgotten masterpiece of blues, jazz, classical and funk compositions, and his 1973 live album Sugarcane's Got The Blues, recorded at the Berlin Jazz Festival show an accomplished musician at the top of his game.[citation needed]
In the 1980s, Sugarcane was a member of the Los Angeles-based experimental rock band Tupelo Chain Sex.
Harris died on November 27, 1999 in Los Angeles, California.
Biography
Harris was born and raised in Pasadena, California, and started an act called Don and Dewey with his childhood friend Dewey Terry in the mid 1950s. Although they were recorded by Art Rupe on his Specialty label, mostly utilizing the services of legendary drummer Earl Palmer, Don and Dewey didn't have any hits. However, Harris and Terry co-authored such early rock and roll classics as "Farmer John", "Justine", "I'm Leaving It Up to You", and "Big Boy Pete," all of which became hits for other artists.
Harris was given the nickname "Sugarcane" by bandleader Johnny Otis and it was to remain with him throughout his life.
After separating from Dewey Terry in the 1960s, Harris moved almost exclusively over to the electric violin. He was to reappear as a sideman with John Mayall & the Bluesbreakers and Frank Zappa, most recognized for his appearances on Hot Rats, and on the Mothers of Invention albums Burnt Weeny Sandwich and Weasels Ripped My Flesh. His lead vocal and blues violin solo on a cover of Little Richard's "Directly From My Heart to You" on Weasels, and his extended solo on the lengthy "Little House I Used To Live In" on Weeny are considered highlights of those albums. Reportedly, he was rescued from a jail term by Zappa. Zappa had long admired Harris's playing and bailed him out of prison, resurrecting his career and ushering in a long period of creativity for the forgotten violin virtuoso. He played a couple of live concerts with Zappa's band in 1969.
During the early 1970s, Sugarcane fronted the Pure Food and Drug Act which included drummer Paul Lagos, guitarists Harvey Mandel and Randy Resnick, and bassist Victor Conte, who was the founder of the Bay Area Laboratory Co-operative (BALCO). Conte replaced Larry Taylor who was the original bass player. His first solo album (with back cover art by underground poster artist Rick Griffin) is a forgotten masterpiece of blues, jazz, classical and funk compositions, and his 1973 live album Sugarcane's Got The Blues, recorded at the Berlin Jazz Festival show an accomplished musician at the top of his game.[citation needed]
In the 1980s, Sugarcane was a member of the Los Angeles-based experimental rock band Tupelo Chain Sex.
Harris died on November 27, 1999 in Los Angeles, California.
Jerry McCain *18.06.1930
Jerry „Boogie“ McCain (* 18. Juni 1930 in Gadsden, Alabama; † 28. März 2012 ebenda[1]) war ein US-amerikanischer Bluesmusiker an der Mundharmonika.
Jerry McCain wurde 1930 als jüngstes von fünf Kindern in Gadsden, Alabama, geboren und begann bereits mit fünf Jahren Mundharmonika zu spielen.[2] Im Jahr 1953 hörte er sein großes Vorbild Little Walter, als dieser mit seinen Aces in Gadsden auftrat. Nach verschiedenen Versionen der Geschichte hat Little Walter ihn mit dem Produzenten Lillian McMurray von Diamond Records bekannt gemacht oder ihn zu seinem ersten Song für Diamond Records inspiriert.[3] Seine erste Single nahm er 1953 für Trumpet Records auf. Bis in die 1970er-Jahre nahm er regelmäßig Platten auf, doch blieb ihm der große Durchbruch versagt. Die Aufnahme für Rex Records, She’s Tough/Steady, wurde später von The Fabulous Thunderbirds gecovert, wobei ihr Harpplayer Kim Wilson McCains Harp nachempfand.
Nach Jahren, die er mit weniger bekannten Bands verbrachte, unterzeichnete er einen Plattenvertrag bei Ichiban Records. Im Jahr 2000 veröffentlichte McCain ein All-Star Album, auf dem er mit Johnnie Johnson, John Primer, Anson Funderburgh, Jimmie Vaughan, Tommy Shannon und Chris Layton (Double Trouble) spielte. Das Werk von McCain wird auch auf der CD von Rhino Records Blues Masters Volume Four: Harmonica Classics gewürdigt, wo er neben Little Walter, Jimmy Reed, Junior Wells, Howlin’ Wolf, Snooky Pryor und George „Harmonica“ Smith mit einem Track vertreten ist.[4]
Seine Heimatstadt würdigt ihren Sohn durch einen eigenen Tag beim alljährlichen Riverfest, einer viertägigen Musikveranstaltung.
http://de.wikipedia.org/wiki/Jerry_McCain
Jerry McCain, often billed as Jerry "Boogie" McCain (June 18, 1930 – March 28, 2012),[1] was an American electric blues musician,[2] best known as a harmonica player. [3] Born in Gadsden, Alabama, United States, he was one of five children of a poor family, many of his siblings became involved in music as well, most notably his brother, Walter, who played drums on some early recordings.[1] McCain picked up the harmonica from itinerant musicians "Chick" and "Shorty" who played at the local bars (and street corners) when he was young.
Biography
McCain was a fan of the music of Little Walter and met the artist when, in 1953, he traveled to Gadsden for a show.[1] McCain's recording debut came via Trumpet Records the same year under the name "Boogie McCain", with his brother Walter on drums. The two tracks were "East of the Sun" and "Wine-O-Wine". After recruiting Christopher Collins, who would be with him throughout most of his career, he went on to the Excello label. During his years with the Excello (1955–57) he developed his amplified harmonica style, and unusual blues lyrics. The Excello Label period saw the release of such noted songs as "The Jig's Up", and "My Next Door Neighbor". His later recording for Rex Records "She's Tough" / "Steady" was an inspiration to The Fabulous Thunderbirds, and Kim Wilson duplicated McCain's harp work on their version.[1]
McCain also released singles and albums for Columbia, under their Okeh Records label (1962), and for the Nashville based Jewel (1965–68) record label.[1] The complete collection of his Jewel label records are available on a compilation album and, in recent years, several of his early recordings have been released on "retrospective" and compilation CDs, including the Verose Vintage album, Good Stuff. His longest partner, Ichiban Records, also released several retrospectives in the 1990s, including ICH1516-2: Jerry McCain.
In 1989, after a period spent performing and touring with lesser known bands, McCain signed with Ichiban Records, and released the albums: Blues and Stuff, Struttin' My Stuff, and Love Desperado. During his time with Ichiban, McCain also released one record on the Jericho label, This Stuff Just Kills Me, which featured Jimmie Vaughan and Johnnie Johnson.[1] His 1977 release, This Stuff Just Kills Me eventually appeared on the Music Maker label.
In 2002, Ichiban released an album called American Roots: Blues featuring McCain.[1] McCain's abridged work was featured on track 8 of the Rhino Records Blues Masters Volume Four: Harmonica Classics, with an almost lost recording of "Steady". McCain's inclusion in the Blues Master series, was alongside Little Walter, Jimmy Reed, Junior Wells, Howlin' Wolf, Snooky Pryor, and George "Harmonica" Smith.
The City of Gadsden honored McCain by including his own day at their annual Riverfest Event;[4] a four day music event. The addition of The Jerry McCain Broad Street Blues Bash rounded out the entertainment and allowed many local citizens to experience McCain. A commemorative CD, featuring some of McCain's music, was compiled for sale at the 1997 Riverfest Event. In 1996, McCain was selected by the Etowah Youth Orchestras as the most well-known musician from Gadsden. The EYO commissioned the composer Julius Williams to write a work for solo harmonica and orchestra, to be performed by McCain and the Etowah Youth Symphony Orchestra, as a part of the City of Gadsden's Sesquicentennial Celebration. "Concerto for Blues Harmonica and Orchestra" was premiered in November 1996, on the EYO's Fall Formal Concert at Wallace Hall, on the campus of Gadsden State Community College. McCain performed the solo harmonica part with the EYSO, under the direction of Michael R. Gagliardo. The "Concerto" was subsequently performed in Alice Tully Hall, at the Lincoln Center for the Performing Arts in New York City in June 1997, with McCain, the EYSO, and Julius Williams conducting.
Biography
McCain was a fan of the music of Little Walter and met the artist when, in 1953, he traveled to Gadsden for a show.[1] McCain's recording debut came via Trumpet Records the same year under the name "Boogie McCain", with his brother Walter on drums. The two tracks were "East of the Sun" and "Wine-O-Wine". After recruiting Christopher Collins, who would be with him throughout most of his career, he went on to the Excello label. During his years with the Excello (1955–57) he developed his amplified harmonica style, and unusual blues lyrics. The Excello Label period saw the release of such noted songs as "The Jig's Up", and "My Next Door Neighbor". His later recording for Rex Records "She's Tough" / "Steady" was an inspiration to The Fabulous Thunderbirds, and Kim Wilson duplicated McCain's harp work on their version.[1]
McCain also released singles and albums for Columbia, under their Okeh Records label (1962), and for the Nashville based Jewel (1965–68) record label.[1] The complete collection of his Jewel label records are available on a compilation album and, in recent years, several of his early recordings have been released on "retrospective" and compilation CDs, including the Verose Vintage album, Good Stuff. His longest partner, Ichiban Records, also released several retrospectives in the 1990s, including ICH1516-2: Jerry McCain.
In 1989, after a period spent performing and touring with lesser known bands, McCain signed with Ichiban Records, and released the albums: Blues and Stuff, Struttin' My Stuff, and Love Desperado. During his time with Ichiban, McCain also released one record on the Jericho label, This Stuff Just Kills Me, which featured Jimmie Vaughan and Johnnie Johnson.[1] His 1977 release, This Stuff Just Kills Me eventually appeared on the Music Maker label.
In 2002, Ichiban released an album called American Roots: Blues featuring McCain.[1] McCain's abridged work was featured on track 8 of the Rhino Records Blues Masters Volume Four: Harmonica Classics, with an almost lost recording of "Steady". McCain's inclusion in the Blues Master series, was alongside Little Walter, Jimmy Reed, Junior Wells, Howlin' Wolf, Snooky Pryor, and George "Harmonica" Smith.
The City of Gadsden honored McCain by including his own day at their annual Riverfest Event;[4] a four day music event. The addition of The Jerry McCain Broad Street Blues Bash rounded out the entertainment and allowed many local citizens to experience McCain. A commemorative CD, featuring some of McCain's music, was compiled for sale at the 1997 Riverfest Event. In 1996, McCain was selected by the Etowah Youth Orchestras as the most well-known musician from Gadsden. The EYO commissioned the composer Julius Williams to write a work for solo harmonica and orchestra, to be performed by McCain and the Etowah Youth Symphony Orchestra, as a part of the City of Gadsden's Sesquicentennial Celebration. "Concerto for Blues Harmonica and Orchestra" was premiered in November 1996, on the EYO's Fall Formal Concert at Wallace Hall, on the campus of Gadsden State Community College. McCain performed the solo harmonica part with the EYSO, under the direction of Michael R. Gagliardo. The "Concerto" was subsequently performed in Alice Tully Hall, at the Lincoln Center for the Performing Arts in New York City in June 1997, with McCain, the EYSO, and Julius Williams conducting.
Nathan Cavaleri *18.06.1982
Nathan Cavaleri (born 18 June 1982) is an Australian blues rock singer-songwriter and guitarist, and a former child actor. He issued two albums as a solo artist, Jammin' with the Cats (1993) and Nathan (1994). He has been a member of various groups including Dirty Skanks (2003–10), and Nat Col and the Kings (2010–present). At the age of six Cavaleri was diagnosed with leukaemia and has been in remission since he was 13. As a child actor he has appeared in two films, Camp Nowhere (1994) and Paws (1997).Biography
Nathan Cavaleri was born on 18 June 1982 and grew up in Ruse, New South Wales.[1] His father, Frank Cavaleri, was a bricklayer and part-time guitarist; his mother is Joanne and the couple also have a younger son.[1] Cavaleri began playing guitar at the age of five;[2] he began by using a full-sized guitar with a shaved neck – to accommodate his smaller hands.[3]
Cavaleri was diagnosed with leukaemia at age six, he continued playing guitar to take his mind off the disease.[2][4] He received chemotherapy treatment and, by May 1993, he was in remission.[1] He asked the Australian branch of Starlight Children's Foundation, a charity organisation, to fulfil his wish – at the age of nine he played with Mark Knopfler; he described Cavaleri's playing as "unbelievable".[2][4] Knopfler also donated a gold plaque awarded to his group, Dire Straits, for their album, Brothers in Arms (1985).[1]
Regarded as a child prodigy, Cavaleri was later trained by, and at age thirteen, eventually toured with, B.B. King.[3] King described Cavaleri as "the future of the blues".[4] In May 1992 Cavaleri released his debut single, "Little Egypt", which was a cover version of Elvis Presely's track from 1964.[4] Its B-side, "Nat's Blues", was co-written by Cavaleri with his father, Frank.[5]
On 12 April 1993 he issued his debut album, Jammin' with the Cats, on Mushroom Records, which was produced by "Buzz" Bidstrup (Riptides, GANGgajang, The Sunnyboys).[4][6] Bevan Hannan of The Canberra Times described Cavaleri as a "super guitar technician" and felt the album "range[s] from shuffle, blues and jazz to out and out rock. It is the type of music you would expect to hear on a tonight chat show."[7] For the album he worked with Jimmy Barnes, Diesel and Tommy Emmanuel.[4] It peaked at No. 33 on the ARIA Albums Chart.[8]
In September 1993 Cavaleri and Barnes released a cover version of The La De Das' single, "Gonna See My Baby Tonight", from November 1971.[4] 50000 promotional copies were included as give-aways in Uncle Tobys breakfast cereal boxes.[4][9] Barnes provided lead vocals, rhythm guitar and produced the track, Bidstrup was on drums, Michael Hegerty on bass guitar and Jeff Neill on rhythm guitar and backing vocals.[9]
For his second album, Nathan (1994), he used Teddy Andreadis on keyboards, Sweet Pea Atkinson on vocals, Curt Bisquera on drums, Jeff Berlin on bass guitar, Randy Jacobs on guitar and Andrew Strong on vocals (ex-The Commitments).[4] AllMusic's Erik Crawford noted that "he delivers jaw-dropping solos on track after track" as he "offers up an earthy blues effort that fits nicely alongside other teen blues sensations."[10] The album provided two singles, "Workin' on It" (September 1994) and "If Loving You is Wrong" (March 1995).[4] For its United States release, Cavaleri signed with Epic Records and Michael Jackson's label, MJJ Music.[2]
He released three albums with Epic Records. He has also played with Robben Ford, and Aaron Neville,[3] His music is featured on the soundtrack for Free Willy 2 (1995), and he has served as a spokesman for Peavey Guitars. In November 2004 Cavaleri reflected on his early career "When I was doing all of that stuff (it) doesn't even feel like it was my life ... It feels like a haze. It feels like a dream. It just feels like images in the head, almost like a western movie."[11] Cavaleri was managed by Jane Barnes (wife of Jimmy Barnes) and, with his parents, he decided to pause his musical career – he finished secondary school and became a brickie's labourer "I just totally escaped music ... It can be a dark time when you’re finding yourself creatively."[12]
On 18 October 2000 Cavaleri appeared on the Opening Ceremony of the 11th Paralympic Games in Sydney. In 2003 he formed a group, Dirty Skanks, with Col Hatchman on drums, then a member of The Screaming Jets.[11][13] By 2010 Dirty Skanks was renamed as Nat Col and the Kings.[13] Cavaleri writes and arranges his own material as the group tours, by 2012 the line-up included Toni Bird on backing vocals and Kenny Jewell on bass guitar.
Nathan Cavaleri - Back to the blues
Dewey Corley *18.06.1898
There's not much chance of making jug band music without a jug, although a few have tried. A washtub bass doesn't hurt, either. In fact, one of the main concepts of this tricky, goofy, and spirited style of music is to create a bass line out of something that basically sounds like a pile of junk. Perhaps it was supposed to be called "junk band music." There would be no more expert opinion than that of Dewey Corley, who was not only the leader of the Beale Street Jug Band from the '30s onward, but also one of the great players on all manner of jug band ordnance: including, of course, jug, and ranging from the depth-charge of the washtub bass to the insect-like whine of the kazoo, upon which he is considered one of the great soloists. In his later years, he also turned out to be one of the great A&R men, helping record companies such as Adelphi scout out missing Memphis blues legends such as the elusive Hacksaw Harney and the superb guitarist Willie Morris. Corley picked up the interest in music from his father and began playing the harmonica as a child growing up in Arkansas. He started hoboing around the country at the age of 18 and became highly influenced by Will Shade, the charismatic and superbly organized founder of the original Memphis Jug Band. It was Shade who introduced the genre in the river city after hearing a jug band holding forth over the hill in Kentucky. Corley came in and out of Shade's Memphis Jug Band, as did many other Memphis blues players such as Furry Lewis and Memphis Minnie. He was also a member of Jack Kelly's South Memphis Jug Band and also backed quite a few of the city's diverse bluesmen in duo and trio settings. His own Beale Street Jug Band was a most successful venture and became a fixture in Memphis for nearly three decades. A series of 1950 photographs of a ceremony honoring W.C. Handy at the Beale Street Auditorium shows the aged blues composer standing at the entrance to the building, holding the sheet music for his "Memphis Blues and surrounded by many V.I.P.s. Seated in front of this group are the seven members of the Beale Street Jug Band with a broadly grinning Corley. In the end, he would be the last surviving member of both the Memphis Jug Band and the Beale Street Jug Band. In terms of his career, getting older just meant getting better for this artist. While he was busily involved in the blues scene in the '30s and '40s, he managed to keep out of the recording studio almost completely; inevitably, somebody else is tooting kazoo, thumbing washtub, or huffing clouds of feted breath across the top of a jug on vintage recordings by the Memphis Jug Band, or at least this is what the credits indicate on reissues. Corley himself refuted this information, stating on several occasions that he played jug with the Memphis Jug Band during a two-day recording session in 1934 for OKeh, and not Jab Jones. It was not a fact deemed worthy of a headline in Variety magazine such as "Jab No Jug." Perhaps Corley was actually busy at another engagement by the same band in another part of town because in its heyday, leader Shade employed so many players that he was able to keep two different versions of the group going simultaneously. Then there was the rock & roll era and at first it seemed like there were no bookings at all for the Memphis jug bands anymore. But while some older bluesmen balked at the onset of new record labels and enthusiastic young white listeners in the '60s, this was Corley's ticket into the recording studio, where he shined with enthusiasm and, needless to say, solos that sound like Charlie Parker might have, if he had played kazoo.
Dewey Corley- Tri-State Bus
Roderick Morris Buckenham "Rod" de'Ath *18.06.1950
Beitrag von 2012
Rod De Ath hat einen ganz besonderen Namen.
Und galt als tot. Man vermutete, er sei bei einem spektakulären Unflaa irgendwann in den 80gern ums Leben gekommen; denn er verschwand völlig von der Bildfläche.
Rod De Ath galt irgendwie als Mysterium, eine geheimnisvolle, unheimliche Geschichte irgendwie.
Und -- nein, da ist nichts dran. Rod lebt und gab dem Classic Rock- Magazin unlängst ein Interview, er ist auch abgebildet.
Alles war eigentlich ganz profan; er stolperte bei dem Versuch, einen Zug zu erreichen und stürzte so schwer, dass er erhebliche bleibende Schäden zurück behielt, die ihm das Musikmachen unmöglich machen.
Lest das verlinkte Interview selber und freut Euch mit mir, dass es dem besten Drummer von Rory den Umständen entsprechend gut geht.
Thumbs up, Rod!!
Rod De Ath hat einen ganz besonderen Namen.
Und galt als tot. Man vermutete, er sei bei einem spektakulären Unflaa irgendwann in den 80gern ums Leben gekommen; denn er verschwand völlig von der Bildfläche.
Rod De Ath galt irgendwie als Mysterium, eine geheimnisvolle, unheimliche Geschichte irgendwie.
Und -- nein, da ist nichts dran. Rod lebt und gab dem Classic Rock- Magazin unlängst ein Interview, er ist auch abgebildet.
Alles war eigentlich ganz profan; er stolperte bei dem Versuch, einen Zug zu erreichen und stürzte so schwer, dass er erhebliche bleibende Schäden zurück behielt, die ihm das Musikmachen unmöglich machen.
Lest das verlinkte Interview selber und freut Euch mit mir, dass es dem besten Drummer von Rory den Umständen entsprechend gut geht.
Thumbs up, Rod!!
Roderick Morris Buckenham "Rod" de'Ath /dɨˈɑt/ (18 June 1950 – 1 August 2014) was a Welsh musician, best known for his role as drummer with Irish guitarist Rory Gallagher in the 1970s.
Career
With Rory Gallagher
De'Ath was playing with the band Killing Floor when, at short notice, he was offered the job as a temporary substitute for Rory Gallagher's drummer Wilgar Campbell for a leg of a European tour in 1972. When Campbell left permanently, de'Ath was asked to join full-time. He stayed with Gallagher, performing on several albums, until 1978 when he and keyboard player Lou Martin left the band.[1]:203 Gallagher's bass guitarist Gerry McAvoy stated that de'Ath "was the most undrummer-like drummer I ever played with. His technique was so strange that it added a whole new dimension to Rory's sound."[1]:121
Later career and accident
After leaving Gallagher's band, de'Ath joined Ramrod (with Martin) and then he played with the Downliners Sect before moving to the United States. In the mid-1980s, he returned to the UK to produce an album for a band called Road Erect. Around this time, he suffered a serious accident while running to catch a train, which led to the loss of one eye and some brain damage.[2] Deciding to return to the UK permanently, he eventually made a near-complete recovery, although he was no longer able to play.[3] He had also been told by doctors that his brain damage would kill him within four years, and although this prognosis proved incorrect, he did not want to contact friends only to tell them that he was terminally ill.[2]
Later life
When Gallagher died in 1995, many obituaries claimed that de'Ath was also dead,[1]:304 and for this reason he stayed away from Gallagher's funeral. McAvoy had heard that de'Ath had been killed in an accident in 1987.[1]:304 However, he appeared at a memorial service a few months later, having "waited for a suitable moment" to show that he was still alive.[2][3] McAvoy remembered that de'Ath looked very frail and walked with the aid of a stick.[1]:304
Little or nothing was known of de'Ath's whereabouts after 1996,[3][4] until an interview with him was published in Classic Rock magazine in May 2012, within a feature about Rory Gallagher.[2] A few months later in August, de'Ath attended the funeral of former Rory Gallagher and Ramrod band member Lou Martin.[5]
Death
De'Ath died on 1 August 2014, aged 64, after a long illness.
Career
With Rory Gallagher
De'Ath was playing with the band Killing Floor when, at short notice, he was offered the job as a temporary substitute for Rory Gallagher's drummer Wilgar Campbell for a leg of a European tour in 1972. When Campbell left permanently, de'Ath was asked to join full-time. He stayed with Gallagher, performing on several albums, until 1978 when he and keyboard player Lou Martin left the band.[1]:203 Gallagher's bass guitarist Gerry McAvoy stated that de'Ath "was the most undrummer-like drummer I ever played with. His technique was so strange that it added a whole new dimension to Rory's sound."[1]:121
Later career and accident
After leaving Gallagher's band, de'Ath joined Ramrod (with Martin) and then he played with the Downliners Sect before moving to the United States. In the mid-1980s, he returned to the UK to produce an album for a band called Road Erect. Around this time, he suffered a serious accident while running to catch a train, which led to the loss of one eye and some brain damage.[2] Deciding to return to the UK permanently, he eventually made a near-complete recovery, although he was no longer able to play.[3] He had also been told by doctors that his brain damage would kill him within four years, and although this prognosis proved incorrect, he did not want to contact friends only to tell them that he was terminally ill.[2]
Later life
When Gallagher died in 1995, many obituaries claimed that de'Ath was also dead,[1]:304 and for this reason he stayed away from Gallagher's funeral. McAvoy had heard that de'Ath had been killed in an accident in 1987.[1]:304 However, he appeared at a memorial service a few months later, having "waited for a suitable moment" to show that he was still alive.[2][3] McAvoy remembered that de'Ath looked very frail and walked with the aid of a stick.[1]:304
Little or nothing was known of de'Ath's whereabouts after 1996,[3][4] until an interview with him was published in Classic Rock magazine in May 2012, within a feature about Rory Gallagher.[2] A few months later in August, de'Ath attended the funeral of former Rory Gallagher and Ramrod band member Lou Martin.[5]
Death
De'Ath died on 1 August 2014, aged 64, after a long illness.
Rod de'Ath ● A Simple Tribute
RORY GALLAGHER - Bullfrog Blues ! [HDadv] [1080p]
R.I.P.
Luther Tucker +18.06.1993
Luther Tucker (* 20. Januar 1936 Memphis, Tennessee; † 18. Juni 1993, Greenbrae, Kalifornien) war ein US-amerikanischer Bluesgitarrist.
Luther Tucker wuchs in Memphis auf. Sein Vater, ein Tischler, baute ihm seine erste Gitarre und seine Mutter, eine Boogie-Woogiepianistin, machte ihn mit Big Bill Broonzy bekannt. Ihre Intention war es, Luther von schlechten Einflüssen fernzuhalten.[1] Bei Broonzy lernte er Robert Lockwood junior kennen, der ihn unter seine Fittiche nahm. Seine Familie zog von Memphis nach Chicago, wo sich seine Kenntnisse vertieften.Als Begleitmusiker arbeitete er mit vielen Größen des Chicago Blues. Seine ersten Auftritte hatte er als 15-Jähriger in der Band seines Onkels J.T. "Boogie" Brown. In der Band von Little Walter war er bei vielen der klassischen Walteraufnahmen dabei. Er nahm mit Otis Rush(Chicago/The Blues/Today! Volume 2)[2], Robben Ford, Sonny Boy Williamson II., Jimmy Rogers, Snooky Pryor, Muddy Waters("She's Nineteen Years Old", "Five Long Years" und "Elevate Me Mama)[3], John Lee Hooker, Elvin Bishop und James Cotton auf. Ende der 1960er-Jahre war er Mitglied in James Cottons Band, 1971 spielte er Gitarre in John Lee Hookers Coast-to-Coast Band. 1973 formierte er seine eigene Band, die Luther Tucker Band.[4] 1990 nahm er in Austin mit verschiedenen Größen der lokalen Szene(Kim Wilson, Reese Wynans, George Rains, Tony Coleman, Mark Kazanoff und Russell Jackson ) das Album Sad Hours auf.
Tucker spielte auf dem San Francisco Blues Festival 1973, 1976 und 1979, ebenso einige Male als Begleitmusiker für Freunde wie Fenton Robinson, Freddie King und Jimmy Reed.
1993 verstarb Luther Tucker an einem Herzinfarkt im Alter von 56 Jahren. Nach seinem Tod wurde ein Tribut-Konzert veranstaltet, auf dem viele seiner Wegbegleiter auftraten( unter anderen John Lee Hooker, Elvin Bishop, Boz Scaggs, Mark Naftalin, Billy Boy Arnold und Freddie Roulette).
http://de.wikipedia.org/wiki/Luther_Tucker
https://www.youtube.com/watch?v=bl3ejy2k7P4
http://www.pastblues.com/view-action-121.html?itId=1384
Luther Tucker (January 20, 1936 – June 18, 1993[1]) was an American blues guitarist.
While soft spoken and shy, Tucker made his presence known through his unique and clearly recognizable guitar style. Tucker helped to define the music known as Chicago Blues, but played everything from blues to soul, rock, jazz and gospel, when given the chance. While never achieving the fame and notoriety of some of his contemporaries he was considered a great guitarist whether playing his own lead style or playing on the recordings of B. B. King, Mel Brown, Pat Hare, or Elmore James. He is considered one of the most prominent rhythm guitarists of Chicago Blues along with Eddie Taylor, Jody Williams and Freddie Robinson.
Career
Early years
Tucker was born in Memphis, Tennessee.[1] His father, a carpenter, built Tucker his first guitar, but his first real guitar was a Sears Silvertone that his mother got him to keep him out of trouble. His mother, who played boogie-woogie piano, introduced him to Big Bill Broonzy and to Robert Lockwood Jr., the stepson to Robert Johnson, usually acknowledged as "King of the Delta Blues". Tucker went on to become Robert Jr.'s protégé, a guitarist and an individual for whom he had the greatest admiration and respect. In fact, Tucker always referred to him as "Mr. Robert Jr. Lockwood".[1] Tucker's family moved from Memphis to Chicago when he was a teenager and his teenage contemporaries and friends with whom he traded licks, shared ideas and played included Freddie King, Magic Sam and Otis Rush.
Playing with bands
In 1952 he began playing with his uncle, J.T. "Boogie" Brown, saxophonist, studio musician, and sideman to slide guitarist, Elmore James. Tucker was soon back with Mr. Robert Jr. Lockwood, who was one of the most sought after sidemen and studio guitarists on the Chicago blues scene. Robert Jr. went to the musician's union asking that Tucker be allowed to play in clubs, and reassured the Union that he would act as a guardian to him and keep the 16-year old Tucker out of trouble. Robert Jr., who was capable of playing Delta Blues had been B.B. King's rhythm guitarist in 1948-1949 and brought a unique jazz style to (the new style known as) Chicago Blues. A tough task master, Robert Jr. drilled into Tucker everything from minor diminished ninth and thirteenth chords to big bar-chords and the subtle nuances of jazz guitar. Initially, Robert Jr. played lead guitar and Tucker played bass on a tuned-down six-string guitar (the Fender bass had not yet been invented) or Tucker would play rhythm guitar. Tucker learned to read music and began working as a studio guitarist at an early age. If someone wanted Robert Jr., they also got Tucker as part of the package. They worked with Little Walter off and on for seven years. First, as part of a twosome with Robert Jr., and later as a lead guitarist, Tucker recorded on numerous classic sides behind [(Little Walter)], Sonny Boy Williamson II, Jimmy Rogers, Muddy Waters, and [(Howlin' Wolf)]. He also recorded with Otis Rush, Snooky Pryor, and after moving to the West Coast, John Lee Hooker, Robben Ford, and Elvin Bishop.[2]
In the late 1960s Tucker had been working in Muddy Waters' band along with harmonica player, James Cotton, and drummer, Francis Clay. In 1968, a cooperative band was put together composed of Tucker on guitar; drummer, Sam Lay (best known for his work with Paul Butterfield); bassist and alumni of Howlin' Wolf's band, Bobby Anderson; Alberto Gianquinto, a pianist equally comfortable playing jazz, blues or classical music; and harmonica man and singer, James Cotton. First night out, the emcee at the club asked the band's name so he could announce them. For lack of a name, one of the band said, The James Cotton Blues Band. The name stuck. After a while, Sam Lay was replaced by Francis Clay. Clay, a veteran of Dizzy Gillespie's and Cab Calloway's big bands, Jay McShann's group and Muddy Water's band, brought a new dimension to the band and Tucker further developed his skills, playing soul tunes and jazz arrangements, utilizing the octave, minor and diminished chords he had learned from Robert Jr. The group traveled the country from Fillmore West, in San Francisco to Fillmore East in New York, and on to Great Britain, Europe and other points, sharing the stage with the biggest rock acts of the 1960s and 70's. The band spent a great deal of time in Northern California and in 1973 Tucker left The James Cotton Blues Band and relocated to the town of San Anselmo, California.
For several years he worked with John Lee Hooker's band, Grayson Street, L.C. "Good Rockin'" Robinson, and as a house musician at Clifford Antone's club in Austin, Texas. He finally formed the Luther Tucker Band where he also became known as a very competent and soulful singer.[1] He played in clubs in the San Francisco Bay Area until his death. Tucker played at the San Francisco Blues Festival in 1973, 1976, and 1979. He would also play as part of supporting bands behind visiting friends and bluesmen including Fenton Robinson, Freddie King and Jimmy Reed.
Luther Tucker died of a heart attack in June, 1993 in Greenbrae, California, at the age of 57.[3] His body was returned to Chicago, where he is buried in Restvale Cemetery in an unmarked plot.[3] He recorded two albums, one incomplete, both released posthumously.
On May 9, 2009 the second annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The concert was organized by executive producer, Steve Salter, of the nonprofit organization Killer Blues to raise monies to honor Tucker's unmarked grave with a headstone. The event was a success, and a headstone was placed in June, 2009.
While soft spoken and shy, Tucker made his presence known through his unique and clearly recognizable guitar style. Tucker helped to define the music known as Chicago Blues, but played everything from blues to soul, rock, jazz and gospel, when given the chance. While never achieving the fame and notoriety of some of his contemporaries he was considered a great guitarist whether playing his own lead style or playing on the recordings of B. B. King, Mel Brown, Pat Hare, or Elmore James. He is considered one of the most prominent rhythm guitarists of Chicago Blues along with Eddie Taylor, Jody Williams and Freddie Robinson.
Career
Early years
Tucker was born in Memphis, Tennessee.[1] His father, a carpenter, built Tucker his first guitar, but his first real guitar was a Sears Silvertone that his mother got him to keep him out of trouble. His mother, who played boogie-woogie piano, introduced him to Big Bill Broonzy and to Robert Lockwood Jr., the stepson to Robert Johnson, usually acknowledged as "King of the Delta Blues". Tucker went on to become Robert Jr.'s protégé, a guitarist and an individual for whom he had the greatest admiration and respect. In fact, Tucker always referred to him as "Mr. Robert Jr. Lockwood".[1] Tucker's family moved from Memphis to Chicago when he was a teenager and his teenage contemporaries and friends with whom he traded licks, shared ideas and played included Freddie King, Magic Sam and Otis Rush.
Playing with bands
In 1952 he began playing with his uncle, J.T. "Boogie" Brown, saxophonist, studio musician, and sideman to slide guitarist, Elmore James. Tucker was soon back with Mr. Robert Jr. Lockwood, who was one of the most sought after sidemen and studio guitarists on the Chicago blues scene. Robert Jr. went to the musician's union asking that Tucker be allowed to play in clubs, and reassured the Union that he would act as a guardian to him and keep the 16-year old Tucker out of trouble. Robert Jr., who was capable of playing Delta Blues had been B.B. King's rhythm guitarist in 1948-1949 and brought a unique jazz style to (the new style known as) Chicago Blues. A tough task master, Robert Jr. drilled into Tucker everything from minor diminished ninth and thirteenth chords to big bar-chords and the subtle nuances of jazz guitar. Initially, Robert Jr. played lead guitar and Tucker played bass on a tuned-down six-string guitar (the Fender bass had not yet been invented) or Tucker would play rhythm guitar. Tucker learned to read music and began working as a studio guitarist at an early age. If someone wanted Robert Jr., they also got Tucker as part of the package. They worked with Little Walter off and on for seven years. First, as part of a twosome with Robert Jr., and later as a lead guitarist, Tucker recorded on numerous classic sides behind [(Little Walter)], Sonny Boy Williamson II, Jimmy Rogers, Muddy Waters, and [(Howlin' Wolf)]. He also recorded with Otis Rush, Snooky Pryor, and after moving to the West Coast, John Lee Hooker, Robben Ford, and Elvin Bishop.[2]
In the late 1960s Tucker had been working in Muddy Waters' band along with harmonica player, James Cotton, and drummer, Francis Clay. In 1968, a cooperative band was put together composed of Tucker on guitar; drummer, Sam Lay (best known for his work with Paul Butterfield); bassist and alumni of Howlin' Wolf's band, Bobby Anderson; Alberto Gianquinto, a pianist equally comfortable playing jazz, blues or classical music; and harmonica man and singer, James Cotton. First night out, the emcee at the club asked the band's name so he could announce them. For lack of a name, one of the band said, The James Cotton Blues Band. The name stuck. After a while, Sam Lay was replaced by Francis Clay. Clay, a veteran of Dizzy Gillespie's and Cab Calloway's big bands, Jay McShann's group and Muddy Water's band, brought a new dimension to the band and Tucker further developed his skills, playing soul tunes and jazz arrangements, utilizing the octave, minor and diminished chords he had learned from Robert Jr. The group traveled the country from Fillmore West, in San Francisco to Fillmore East in New York, and on to Great Britain, Europe and other points, sharing the stage with the biggest rock acts of the 1960s and 70's. The band spent a great deal of time in Northern California and in 1973 Tucker left The James Cotton Blues Band and relocated to the town of San Anselmo, California.
For several years he worked with John Lee Hooker's band, Grayson Street, L.C. "Good Rockin'" Robinson, and as a house musician at Clifford Antone's club in Austin, Texas. He finally formed the Luther Tucker Band where he also became known as a very competent and soulful singer.[1] He played in clubs in the San Francisco Bay Area until his death. Tucker played at the San Francisco Blues Festival in 1973, 1976, and 1979. He would also play as part of supporting bands behind visiting friends and bluesmen including Fenton Robinson, Freddie King and Jimmy Reed.
Luther Tucker died of a heart attack in June, 1993 in Greenbrae, California, at the age of 57.[3] His body was returned to Chicago, where he is buried in Restvale Cemetery in an unmarked plot.[3] He recorded two albums, one incomplete, both released posthumously.
On May 9, 2009 the second annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The concert was organized by executive producer, Steve Salter, of the nonprofit organization Killer Blues to raise monies to honor Tucker's unmarked grave with a headstone. The event was a success, and a headstone was placed in June, 2009.
https://www.youtube.com/watch?v=bl3ejy2k7P4
Shirley Griffith +18.06.1974
Shirley Griffith (April 26, 1908 – June 18, 1974)[1] was an American blues singer and guitarist, mainly based in Indianapolis. He is best known for his recordings, "Walkin' Blues" and "Bad Luck Blues".[2]
Griffith was born in Brandon, Mississippi, United States.[1] He died from heart disease in Indianapolis in June 1974, at the age of 66.[2] He had three children Elonza Griffith (deceased), Walter James Griffith and Mary T. Griffith. His first wife was Addie B. McNeil (deceased) and his second wife Elizabeth (deceased). He was the second child born to Willie and Maggie Griffith. He had five sisters and three brothers, one brother Robert Griffith and one sister Bealuah Griffith-Myers are living.
Griffith was born in Brandon, Mississippi, United States.[1] He died from heart disease in Indianapolis in June 1974, at the age of 66.[2] He had three children Elonza Griffith (deceased), Walter James Griffith and Mary T. Griffith. His first wife was Addie B. McNeil (deceased) and his second wife Elizabeth (deceased). He was the second child born to Willie and Maggie Griffith. He had five sisters and three brothers, one brother Robert Griffith and one sister Bealuah Griffith-Myers are living.
Shirley
Griffith - River line Blues
