1896 Jesse Fuller*
1953 Orville Johnson*
1955 Helmut Licklederer*
1966 Igor Flach*
1980 Akarsha "Aki" Kumar*
1986 Chantel McGregor*
2016 Tommy Brown+
Happy Birthday
Igor Flach *12.03.1966
Igor Flach (* 12. März 1966 in Jena; † 8. März 2008 in Berlin) war ein deutscher Musiker und Bluesharp-Spieler. Flach galt als einer der besten „All-category-Harpspieler“ [1]. Ursprünglich vom authentischen Blues inspiriert, fühlte er sich später keinem musikalischen Genre zugehörig, spielte ebenso Rock-, Folk- oder Countrymusik und bot hervorragende afrikanische, griechische und russische Liveacts. Flach zeichnete sich durch eine unkonventionelle Art, einen hypnotischen Rhythmus und ein berauschendes Melodiespiel aus.[2] Er überzeugte mit einer speziellen Spielweise, indem er die Mundharmonika beim Ein- und Ausatmen mit einer ihm eigenen Technik spielte.
Flach erlernte im Alter von zehn Jahren autodidaktisch das Mundharmonikaspiel. Inspiriert wurde er von Stefan Diestelmann und dem französischen Bluesharp-Spieler Jean-Jacques Milteau. Nach einer Uhrmacherlehre schloss er sich 1984 der Jonathan Blues Band an und begann seine Karriere als Berufsmusiker. In der Ost-Berliner Bluesszene lernte er Hans die Geige kennen. Mit dessen Unterstützung komponierte und produzierte Flach deutschsprachige Bluessongs. Die Texte stammten von Michael Sellin. Von 1987 bis 1989 spielte er bei Passat, trat als Gastmusiker bei Pankow und der Tino Standhaft Band auf und war an der Einspielung verschiedener Langspielplatten beteiligt.
Seit den 1990er-Jahren war Flach vor allem solistisch tätig, tourte durch die USA, Frankreich und Russland und war als Gast an der Produktion verschiedener CDs beteiligt. Anfang der 1990er Jahre hatte er mehrere Gastauftritte bei Stefan Diestelmann und musizierte gemeinsam mit den Yardbirds, Alicia Levy, Louisiana Red, der Uwe-Ochsenknecht-Band, Abi Wallenstein, Buzz Dee (heute Knorkator), Rudi Howard und Guitar Crusher.
Gemeinsam mit Stefan Strahli Strahl gründete er die Niel Jang Band, eine deutschsprachige Neil Young - Coverband und gehörte der Gospel Unlimited an. Bis zu seinem Tod verband ihn eine intensive Zusammenarbeit mit Uwe Bluesrudi Haase als Duo „Igor Flach & Bluesman Rudi“.
Flach nahm zwischen 1994 und 2004 sechs Solo-Alben auf. Er gehörte zu den Förderern des Musikfestivals „Mundharmonika live“ in Klingenthal, arbeitete als Dozent verschiedener Workshops an der “Musik-Akademie Markneukirchen e.V.” und betrieb einen Harp-Shop.
Mit seiner Lebensgefährtin wurde er Vater zweier Töchter. Nach einem Herzleiden verstarb der Musiker wenige Tage vor seinem 42. Geburtstag an den Folgen der schweren Operation auf der Intensivstation des Berliner Herzzentrums.
http://www.tagesspiegel.de/berlin/nachrufe/igor-flach-geb-1966/1203100.html
Sadly Igor Flach passed away in 2008 an untimely age. He will be greatly missed by the Harmonica community.
- Igor Flach entered the DDR(East Germany)-Blues-Scene in 1984 as harpist for many well known German/European bands including the Jonathan Blues Band, Stefan Diestelmann, Passat, Pankow to name but but a few. He also featured on several recordings.
- 1987 saw the launch of his Solo-career with original material written by himself, going on to release a number of CD's
- Igor developed his own unique playing style (by using his tongue as a valve) and was considered an inherent part of the German Blues-Scene; performing at more than a hundred live shows per year.
- Igor told us at Suzuki that he was the very first Harmonica-Professional to adopt the Suzuki Overdrive as his primary performance instrument.
http://suzukiharmonicaworld.com/artists/flach.htm- Igor Flach entered the DDR(East Germany)-Blues-Scene in 1984 as harpist for many well known German/European bands including the Jonathan Blues Band, Stefan Diestelmann, Passat, Pankow to name but but a few. He also featured on several recordings.
- 1987 saw the launch of his Solo-career with original material written by himself, going on to release a number of CD's
- Igor developed his own unique playing style (by using his tongue as a valve) and was considered an inherent part of the German Blues-Scene; performing at more than a hundred live shows per year.
- Igor told us at Suzuki that he was the very first Harmonica-Professional to adopt the Suzuki Overdrive as his primary performance instrument.
http://worldofharmonica.blogspot.de/2011/05/igor-flach.html
Igor Flach plays Blues Harp forever
https://www.youtube.com/watch?v=uiW_1SHFzEY
https://www.youtube.com/watch?v=cJfHTEYiSNk#t=25
Jesse Fuller *12.03.1896
Jesse "Lone Cat" Fuller (* 12. März 1896 in Jonesboro nahe Atlanta, Georgia, USA; † 29. Januar 1976 in Oakland, Kalifornien) war ein afroamerikanischer Blues-Musiker.
Er ist vor allem durch seinen Song "San Francisco Bay Blues" bekannt geworden, der von einer großen Anzahl von Musikern nachgespielt wurde, so u.a. von The Blues Band, Eric Clapton, Bob Dylan, Ramblin' Jack Elliott, Richie Havens, Hot Tuna, Janis Joplin, Mungo Jerry und Peter, Paul & Mary. Auch die Grateful Dead coverten einige seiner Stücke. Der erste Song auf Bob Dylans erster, 1962 erschienener LP ist Jesse Fullers Song "You're No Good".
Weil er gleichzeitig 12-saitige Gitarre, Mundharmonika bzw. Kazoo, Hi-Hat und ein selbst gebautes Bass-Instrument, die 'Fotdella', spielte, wurde er auch als Ein-Mann-Band ('one-man-band') bezeichnet.
Erst im Jahre 1955 ist seine erste, 1954 aufgenommene Schallplatte herausgegeben worden, eine 10-Inch-LP auf dem Label 'World Song'. Es folgten Aufnahmen für diverse Firmen wie Good Time Jazz, Prestige, Bluesville, Folk Lyric, Topic, Fontana und Arhoolie. In den 1960er und Anfang der 1970er Jahre machte er ausgedehnte Tourneen. Er spielte auf dem 1964 Newport Folk Festival, in Europa, und war regelmäßig in Colleges, Kaffeehäusern und anderen Szene-Auftrittsorten zu sehen. Zu seinem Repertoire gehörten nicht nur Bluesstücke, sondern auch traditionelle Folksongs, Ragtimenummern und religiöse Lieder.
Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".[1][2]
Early life
Fuller was born in Jonesboro, Georgia, near Atlanta. He was sent by his mother to live with foster parents when he was a young child, in a rural setting where he was badly mistreated. Growing up, he worked a multitude of jobs: grazing cows for ten cents a day, working in a barrel factory, a broom factory, a rock quarry, on a railroad and a streetcar company, shining shoes, and even peddling hand-carved wooden snakes.[3] By the age of 10 he was playing guitar in two techniques, as he described it, "frailing" and "picking."
He came west and in the 1920s he lived in Southern California, where he operated a hot-dog stand and was befriended by Douglas Fairbanks. He worked briefly as a film extra in The Thief of Bagdad (1924) and East of Suez. In 1929 he settled in Oakland, California, across the bay from San Francisco, where he worked for the Southern Pacific railroad for many years as a fireman, spike driver, and maintenance-of-way worker. He married, and he and his wife Gertrude had a family. During World War II, he worked as a shipyard welder, but when the war ended he found it increasingly difficult to secure employment. Around the early 1950s, Fuller's thoughts turned toward the possibility of making a living playing music.
Start of career
Up to this point, Fuller had never worked as a full-time professional musician, but he was an accomplished guitarist and he had carried his guitar with him and busked for money by passing the hat. He had a good memory for songs and had a large repertoire of crowd-pleasers in diverse styles, including country blues, work songs, ragtime and jazz standards, ballads, spirituals, and instrumentals. For a while he operated a shoe-shine stand, where he sang and danced to entertain passersby. He began to seriously compose his own songs, many of them based on his personal life experiences on the railroads, and he also set about reworking older pieces into his own syncopated style. However, when he decided to try music as a career, he had difficulty finding reliable musicians to work with: thus his one-man band act was born, and he took on the name "The Lone Cat" or Jesse "Lone Cat" Fuller.
Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles, and in 1958, at the age of 62, his recording career started with his first album on the Good Time Jazz record label.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a head-piece to hold the harmonica, kazoo, and a microphone. In addition, he would generally include at least one tap dance, soft-shoe, or buck and wing in his sets, accompanying himself on the 12-string guitar as he danced. His style was open and engaging, and in typical busker's fashion, he addressed his audiences as "Ladies and Gentlemen," told humorous anecdotes, and cracked jokes between pieces. However, if one listened closely, the stories were anything but cheerful, often including specific recapitulations of his tragic childhood, his mother's illness and early death, his determination to escape the segregated racial system of the South, mentions of suicide and death, and his love of his wife and family.
The British label Topic Records issued a Jesse Fuller album called Working on the Railroad in 1959 as a 10 inch vinyl LP which included San Francisco Bay Blues. The recording is included as track six on the first CD of the Topic Records 70 year anniversary boxed set Three Score and Ten.
The fotdella
The fotdella was a musical instrument of Fuller's own creation and construction. He built at least two of them, in slightly different patterns, as evidenced in photographs and film footage of his performances.
As a one-man band, Fuller's problem was how to supply a more substantial accompaniment than the typical high-hat (cymbal) or bass drum used by other street musicians. His solution, the fotdella, was a foot-operated percussion bass, consisting of a large upright wood box, shaped like the top of a double bass. Attached to a short neck at the top of this box were six piano bass strings, stretched down over the body. The means to play the strings consisted of six piano or organ foot pedals, each connected to a padded piano hammer which struck the string.[4]
By removing his shoe and placing his sock-covered foot in a rotating heel-cradle, Fuller was able to play the six pedals of the fotdella like a piano, and the instrument's six notes allowed him to perform varied bass lines in several keys, though he occasionally would play without it if a song exceeded its limited range.[4]
The name was coined by his wife, who took to calling the instrument a "foot-diller" (as in a "killer-diller" instrument played with the foot), which was shortened to fotdella. The term "foot piano" has been used by some performers and musicologists to describe this type of devise.
Death
Fuller died in January 1976 in Oakland, California, from heart disease at the age of 79.[5] He was interred at Evergreen Cemetery in Oakland.[6] Both his fotdella and his 1962 Silvertone Electric-Acoustic guitar (the latter purchased in Detroit at a Sears and Roebuck store to replace his Maurer guitar, which had been stolen while he was on tour) are in the possession of the Smithsonian Institution.[7]
Influence on other musicians
Bob Dylan covered a Jesse Fuller song, "You're No Good," on his debut album in 1962.[5] According to Dylan biographer David Dalton, Dylan borrowed the idea of using a harmonica rack from Fuller, and imitated Fuller's "gravelly vocal style."[8]
Fuller's compositions have been covered by a number of other artists, among them:
Grateful Dead ("The Monkey And The Engineer" and "Beat It On Down The Line")
Hot Tuna
Peter, Paul and Mary
Janis Joplin ("San Francisco Bay Blues")
Glenn Yarbrough
Richie Havens
Eric Clapton
Paul McCartney
Mungo Jerry
Tim O'Brien & Hot Rize ("99 Years and One Dark Day")
Punch Brothers
Dave Rawlings Machine ("Monkey And The Engineer")
Early life
Fuller was born in Jonesboro, Georgia, near Atlanta. He was sent by his mother to live with foster parents when he was a young child, in a rural setting where he was badly mistreated. Growing up, he worked a multitude of jobs: grazing cows for ten cents a day, working in a barrel factory, a broom factory, a rock quarry, on a railroad and a streetcar company, shining shoes, and even peddling hand-carved wooden snakes.[3] By the age of 10 he was playing guitar in two techniques, as he described it, "frailing" and "picking."
He came west and in the 1920s he lived in Southern California, where he operated a hot-dog stand and was befriended by Douglas Fairbanks. He worked briefly as a film extra in The Thief of Bagdad (1924) and East of Suez. In 1929 he settled in Oakland, California, across the bay from San Francisco, where he worked for the Southern Pacific railroad for many years as a fireman, spike driver, and maintenance-of-way worker. He married, and he and his wife Gertrude had a family. During World War II, he worked as a shipyard welder, but when the war ended he found it increasingly difficult to secure employment. Around the early 1950s, Fuller's thoughts turned toward the possibility of making a living playing music.
Start of career
Up to this point, Fuller had never worked as a full-time professional musician, but he was an accomplished guitarist and he had carried his guitar with him and busked for money by passing the hat. He had a good memory for songs and had a large repertoire of crowd-pleasers in diverse styles, including country blues, work songs, ragtime and jazz standards, ballads, spirituals, and instrumentals. For a while he operated a shoe-shine stand, where he sang and danced to entertain passersby. He began to seriously compose his own songs, many of them based on his personal life experiences on the railroads, and he also set about reworking older pieces into his own syncopated style. However, when he decided to try music as a career, he had difficulty finding reliable musicians to work with: thus his one-man band act was born, and he took on the name "The Lone Cat" or Jesse "Lone Cat" Fuller.
Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles, and in 1958, at the age of 62, his recording career started with his first album on the Good Time Jazz record label.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a head-piece to hold the harmonica, kazoo, and a microphone. In addition, he would generally include at least one tap dance, soft-shoe, or buck and wing in his sets, accompanying himself on the 12-string guitar as he danced. His style was open and engaging, and in typical busker's fashion, he addressed his audiences as "Ladies and Gentlemen," told humorous anecdotes, and cracked jokes between pieces. However, if one listened closely, the stories were anything but cheerful, often including specific recapitulations of his tragic childhood, his mother's illness and early death, his determination to escape the segregated racial system of the South, mentions of suicide and death, and his love of his wife and family.
The British label Topic Records issued a Jesse Fuller album called Working on the Railroad in 1959 as a 10 inch vinyl LP which included San Francisco Bay Blues. The recording is included as track six on the first CD of the Topic Records 70 year anniversary boxed set Three Score and Ten.
The fotdella
The fotdella was a musical instrument of Fuller's own creation and construction. He built at least two of them, in slightly different patterns, as evidenced in photographs and film footage of his performances.
As a one-man band, Fuller's problem was how to supply a more substantial accompaniment than the typical high-hat (cymbal) or bass drum used by other street musicians. His solution, the fotdella, was a foot-operated percussion bass, consisting of a large upright wood box, shaped like the top of a double bass. Attached to a short neck at the top of this box were six piano bass strings, stretched down over the body. The means to play the strings consisted of six piano or organ foot pedals, each connected to a padded piano hammer which struck the string.[4]
By removing his shoe and placing his sock-covered foot in a rotating heel-cradle, Fuller was able to play the six pedals of the fotdella like a piano, and the instrument's six notes allowed him to perform varied bass lines in several keys, though he occasionally would play without it if a song exceeded its limited range.[4]
The name was coined by his wife, who took to calling the instrument a "foot-diller" (as in a "killer-diller" instrument played with the foot), which was shortened to fotdella. The term "foot piano" has been used by some performers and musicologists to describe this type of devise.
Death
Fuller died in January 1976 in Oakland, California, from heart disease at the age of 79.[5] He was interred at Evergreen Cemetery in Oakland.[6] Both his fotdella and his 1962 Silvertone Electric-Acoustic guitar (the latter purchased in Detroit at a Sears and Roebuck store to replace his Maurer guitar, which had been stolen while he was on tour) are in the possession of the Smithsonian Institution.[7]
Influence on other musicians
Bob Dylan covered a Jesse Fuller song, "You're No Good," on his debut album in 1962.[5] According to Dylan biographer David Dalton, Dylan borrowed the idea of using a harmonica rack from Fuller, and imitated Fuller's "gravelly vocal style."[8]
Fuller's compositions have been covered by a number of other artists, among them:
Grateful Dead ("The Monkey And The Engineer" and "Beat It On Down The Line")
Hot Tuna
Peter, Paul and Mary
Janis Joplin ("San Francisco Bay Blues")
Glenn Yarbrough
Richie Havens
Eric Clapton
Paul McCartney
Mungo Jerry
Tim O'Brien & Hot Rize ("99 Years and One Dark Day")
Punch Brothers
Dave Rawlings Machine ("Monkey And The Engineer")
Orville Johnson is an American resonator guitar player and musician,
born in 1953 in Edwardsville, Illinois.[1] He came up in the St. Louis,
Missouri music scene and now lives in Seattle, Washington.[2] A frequent
session musician, he also has released a number of solo and group
albums. He has appeared on the radio show A Prairie Home Companion and
on The Tonight Show with Jay Leno on television.
Orville Johnson made his film debut in Georgia, appearing as a musician.[1]
He
is a singer, instrumentalist, record producer, songwriter, session
player, and teacher. As his entry in the Encyclopedia of Northwest Music
(Sasquatch Press 1999) states, he has become a vital figure on the NW
music scene in the thirty-some years he's lived there, appearing on over
400 CDs, movie and video soundtracks, commercials, producing 22 CDs for
other artists, and hosting a roots music radio show.
Orville is
also known as a patient and insightful teacher of music and has taught
often at the Puget Sound Guitar Workshop as well as the International
Guitar Seminar, Pt. Townsend Blues Workshop, Euro-Blues Workshop, B.C.
Bluegrass Workshop and others. He has several teaching videos and DVDs
and CDs of his own music available.
Orville Johnson - How Long Blues
Sitting on Top of the World- Orville Johnson & Grant Dermody
Akarsha "Aki" Kumar *12.03.1980
Dynamic frontman & harp player Aki Kumar is a rising star among the next generation of SF Bay Area blues artists. A master of the amplified Chicago blues sound, Kumar inherits his style from the harp legends of the 1950s and 60s. Aki has a unique voice in the blues, blending elements of blues harmonica pioneers of yesteryear with a signature sound of his own.
Born and raised in Bombay - India, Kumar established his mark on the West Coast blues scene starting in 2009 as frontman of the SF Bay Area's highly acclaimed blues outfit Tip of the Top. His latest venture, The Aki Kumar Blues Band, involves several Bay Area blues luminaries and has been the culmination of his journey through American roots music. The band performs vintage blues with tremendous skill and energy and is guaranteed to entertain audiences across all venues, from intimate listening rooms to large festivals. When not performing under his own name, Aki Kumar can also be found working with the heavy-hittin' blues band, Little Jonny and The Giants.
Kumar has shared the stage with some of the finest contemporary blues greats: Kim Wilson, Joe Louis Walker, Ron Thompson, Little Charlie Baty, Junior Watson, Rod Piazza, Lazy Lester, Andy Just, Gary Smith, Rick Estrin, Mark Hummel, Charlie Musselwhite, Andy Santana, David Barrett, Lee Oskar and more!
Aki Kumar is a Seydel endorsed artist and plays Seydel 1847 Classic harmonicas at his shows. He is also a featured contributor on David Barrett's Bluesharmonica.com.
Born and raised in Bombay - India, Kumar established his mark on the West Coast blues scene starting in 2009 as frontman of the SF Bay Area's highly acclaimed blues outfit Tip of the Top. His latest venture, The Aki Kumar Blues Band, involves several Bay Area blues luminaries and has been the culmination of his journey through American roots music. The band performs vintage blues with tremendous skill and energy and is guaranteed to entertain audiences across all venues, from intimate listening rooms to large festivals. When not performing under his own name, Aki Kumar can also be found working with the heavy-hittin' blues band, Little Jonny and The Giants.
Kumar has shared the stage with some of the finest contemporary blues greats: Kim Wilson, Joe Louis Walker, Ron Thompson, Little Charlie Baty, Junior Watson, Rod Piazza, Lazy Lester, Andy Just, Gary Smith, Rick Estrin, Mark Hummel, Charlie Musselwhite, Andy Santana, David Barrett, Lee Oskar and more!
Aki Kumar is a Seydel endorsed artist and plays Seydel 1847 Classic harmonicas at his shows. He is also a featured contributor on David Barrett's Bluesharmonica.com.
Johnny Cat Blues Band feat. Aki Kumar - Junior Wells' "Hoodoo Man Blues"
https://www.youtube.com/watch?v=Svh4Mnyt3ps
http://www.tommybrownblues.com/
Helmut Licklederer *12.03.1955
Helmut Licklederer alias Lick (* 12. März 1955 in Ingolstadt) ist ein bayerischer Musiker, Liedermacher, Songtexter und Geschichtenerzähler. Musikalisch bekannt ist er durch seine satirischen Lieder, die er als Singer-Songwriter mit der Gitarre vorträgt. Daneben spielt er auch bayerischen Rhythm’n Blues in flexibler Besetzung im Duo und mit Band unter dem Namen Blues Lick.
Werdegang
Licklederer begann mit 15 Jahren erste Songs in hochdeutscher Sprache und mit gesellschaftskritischen Themen zu schreiben. Als Gitarrist und Sänger kamen die ersten Bandkontakte und Auftritte. Nach den verschiedensten Ausbildungen in der Musik wurde die Musik ausschließlich zu seinem Beruf. Als Livemusiker folgten verschiedene musikalische Stationen, von klassischen Ensembles über Rock- und Bluesbands bis hin zur Tanz- und Straßenmusik sowie experimentelle Musik. Ab Mitte der 80er Jahre war Helmut Licklederer als sozialkritischer Liedermacher unterwegs.
Neben seinen Kleinkunstauftritten wirkt Licklederer bis heute musikalisch bei diversen Kulturprogrammen, Großkundgebungen, Protestveranstaltungen und bei Tarifverhandlungen des DGB und der IG-Metall, z. B. in Ingolstadt, Neutraubling und Passau. Für eine Protestveranstaltung im Zuge der Rentenreform schrieb er 1997 den Song „As Geid reicht ma nimma“.
Seit 1995 tritt Licklederer als bayerischer Singer-Songwriter, Bluesmusiker und humoriger Geschichtenerzähler unter „Blues Lick“ in flexibler Besetzung auf Festivals und Kleinkunstbühnen auf. Derzeit ist Helmut „Lick“ Licklederer mit seinem Programm Humorige Roots-Musik „Da Deifesweg“ mit verschiedenen Musikern der bayerischen Szene unterwegs.
Das im September 2011 veröffentlichte Album „Da Deifesweg“ wurde auf Anhieb für den Preis der deutschen Schallplattenkritik nominiert.
Werdegang
Licklederer begann mit 15 Jahren erste Songs in hochdeutscher Sprache und mit gesellschaftskritischen Themen zu schreiben. Als Gitarrist und Sänger kamen die ersten Bandkontakte und Auftritte. Nach den verschiedensten Ausbildungen in der Musik wurde die Musik ausschließlich zu seinem Beruf. Als Livemusiker folgten verschiedene musikalische Stationen, von klassischen Ensembles über Rock- und Bluesbands bis hin zur Tanz- und Straßenmusik sowie experimentelle Musik. Ab Mitte der 80er Jahre war Helmut Licklederer als sozialkritischer Liedermacher unterwegs.
Neben seinen Kleinkunstauftritten wirkt Licklederer bis heute musikalisch bei diversen Kulturprogrammen, Großkundgebungen, Protestveranstaltungen und bei Tarifverhandlungen des DGB und der IG-Metall, z. B. in Ingolstadt, Neutraubling und Passau. Für eine Protestveranstaltung im Zuge der Rentenreform schrieb er 1997 den Song „As Geid reicht ma nimma“.
Seit 1995 tritt Licklederer als bayerischer Singer-Songwriter, Bluesmusiker und humoriger Geschichtenerzähler unter „Blues Lick“ in flexibler Besetzung auf Festivals und Kleinkunstbühnen auf. Derzeit ist Helmut „Lick“ Licklederer mit seinem Programm Humorige Roots-Musik „Da Deifesweg“ mit verschiedenen Musikern der bayerischen Szene unterwegs.
Das im September 2011 veröffentlichte Album „Da Deifesweg“ wurde auf Anhieb für den Preis der deutschen Schallplattenkritik nominiert.
Blues Lick - Der Geist des Blues
Blues Lick - Frankensteins Jünger
Ashley Bishop *12.03.1974
Ashley Bishop: Growing up in Memphis, surrounded by her sounds, Ashley started playing the drums at the age of 7. It didn't take long for the guitar to peak his interest and he started playing that instrument at 12. He’s performed with some of the greats; Blind Mississippi Morris, Earl the Pearl, and his close friend Big Gerry to name a few. He describes his tone as Chunky Funky, Hill Country, Juke Joint, Delta Blues with a Memphis vibe. He played regularly on Beale Street for a decade before joining the others to form Mississippi Bigfoot and is excited about this new project and the music they are creating.
R.I.P.
Tommy Brown +12.03.2016
http://www.tommybrownblues.com/
Thomas A. Brown (* 27. Mai 1931 in Lumpkin (Georgia); † 12. März 2016[1]), bekannt als Tommy Brown, war ein US-amerikanischer R&B-Sänger, der seine größten Erfolge Anfang der 1950er Jahre feierte, insbesondere zusammen mit den Griffin Brothers.
Biografie
Geboren 1931 in Lumpkin in Georgia, gründete Brown in den 1940er Jahren eine Band, in der er das Schlagzeug bediente. Sie traten in der Gegend von Atlanta auf. 1949 veröffentlichte Brown bei Regent Records den Atlanta Boogie, der bereits auf den Rock ’n’ Roll verwies:
Well, the whole town's rockin' just about the break of day
Well, when the bar starts jumpin' you can hear the cats all say
Well, let's rock'n'roll, well, let's rock'n'roll
Yes, let's rock'n'roll till the break of day...
1951 begann Brown, bei Dot Records mit den Griffin Brothers als Sänger zusammenzuarbeiten. Im August desselben Jahres hatten sie mit Tra-La-La einen Top-10-Hit in den R&B-Charts, gefolgt von der Nummer 1 Weepin’ and Cryin’, ebenfalls 1951.
Anfang 1952 wurde Brown zum Militärdienst einberufen, nach dessen Abschluss er im Oktober 1952 zu United Records in Chicago wechselte. Er spielte einige Zeit in den Bands von Bill Doggett und Big Walter Horton. Brown machte etliche R&B-Aufnahmen bei kleineren Labels, bevor er sich in der 1960ern und 1970ern der Comedy zuwandte. Er veröffentlichte zwei Comedy-Livealben, I Ain’t Lyin’ (1967) und I Ain’t Lyin’ Vol. 2 (1968).
1977 kehrte Brown nach Atlanta zurück, wo er für das Landmark Personal Care Center arbeitete. 2001 hatte er ein Comeback und trat weltweit bei Bluesfestivals auf. Neben neuen Aufnahmen wurden seine alten Aufnahmen neu aufgelegt. 2015 wurde Brown in die Blues Hall of Fame aufgenommen. Er starb 2016 im Alter von 84 Jahren.
https://de.wikipedia.org/wiki/Tommy_Brown_%28S%C3%A4nger%29 Biografie
Geboren 1931 in Lumpkin in Georgia, gründete Brown in den 1940er Jahren eine Band, in der er das Schlagzeug bediente. Sie traten in der Gegend von Atlanta auf. 1949 veröffentlichte Brown bei Regent Records den Atlanta Boogie, der bereits auf den Rock ’n’ Roll verwies:
Well, the whole town's rockin' just about the break of day
Well, when the bar starts jumpin' you can hear the cats all say
Well, let's rock'n'roll, well, let's rock'n'roll
Yes, let's rock'n'roll till the break of day...
1951 begann Brown, bei Dot Records mit den Griffin Brothers als Sänger zusammenzuarbeiten. Im August desselben Jahres hatten sie mit Tra-La-La einen Top-10-Hit in den R&B-Charts, gefolgt von der Nummer 1 Weepin’ and Cryin’, ebenfalls 1951.
Anfang 1952 wurde Brown zum Militärdienst einberufen, nach dessen Abschluss er im Oktober 1952 zu United Records in Chicago wechselte. Er spielte einige Zeit in den Bands von Bill Doggett und Big Walter Horton. Brown machte etliche R&B-Aufnahmen bei kleineren Labels, bevor er sich in der 1960ern und 1970ern der Comedy zuwandte. Er veröffentlichte zwei Comedy-Livealben, I Ain’t Lyin’ (1967) und I Ain’t Lyin’ Vol. 2 (1968).
1977 kehrte Brown nach Atlanta zurück, wo er für das Landmark Personal Care Center arbeitete. 2001 hatte er ein Comeback und trat weltweit bei Bluesfestivals auf. Neben neuen Aufnahmen wurden seine alten Aufnahmen neu aufgelegt. 2015 wurde Brown in die Blues Hall of Fame aufgenommen. Er starb 2016 im Alter von 84 Jahren.
Tommy Brown (born May 27, 1931, Atlanta, Georgia, United States) is an American R&B singer, who achieved most success in the early 1950s, particularly on records with The Griffin Brothers.
Brown formed a small band with himself as the drummer in the 1940s, and worked in clubs around Atlanta. In 1949 he recorded "Atlanta Boogie" on the Regent label, a subsidiary of Savoy Records. The track contained early references to rock and roll :
Well, the whole town's rockin' just about the break of day
Well, when the bar starts jumpin' you can hear the cats all say
Well, let's rock'n'roll, well, let's rock'n'roll
Yes, let's rock'n'roll till the break of day...[1]
In 1951 he moved on to Dot where he was teamed with the Griffin Brothers, an R&B orchestra led by brothers Jimmy Griffin (trombone) and Ernest "Buddy" Griffin (piano) from Norfolk, Virginia. They had toured widely with Amos Milburn, Paul Williams and others, and recorded as the backing band for Margie Day on two R&B Top 10 hits, "Street Walkin' Daddy" and "Little Red Rooster".
In June of that same year Brown was featured singer on the R&B Top 10 hit "Tra-La-La", credited to the Griffin Brothers Orchestra, and later in the year the combination reached # 1 on the R&B chart with "Weepin' and Cryin'", credited to The Griffin Brothers Orchestra featuring Tommy Brown.
The Griffin Brothers disbanded in 1954. Buddy Griffin later recorded with Gloria Swann, as the duo Buddy and Gloria who had an R&B hit with "I Wanna Hug Ya, Kiss Ya, Squeeze Ya", while Jimmy Griffin joined Atlantic Records. They both did not achieve the same hits as previous, and were dropped from their respective record labels.
In the early 1950s, Brown was called up for military service, and when he returned he moved to United Records in Chicago. He played for a while in Bill Doggett's band, and claimed to help write Doggett's hit "Honky Tonk". He also recorded with Walter Horton during this period.[2] Over the next decade he recorded R&B for a number of smaller labels, before starting to perform and record as a comedian in the 1960s and 1970s.
After a later career as a social care worker, he returned to performance in 2001, subsequently appearing in clubs and at blues festivals around the world.
Brown formed a small band with himself as the drummer in the 1940s, and worked in clubs around Atlanta. In 1949 he recorded "Atlanta Boogie" on the Regent label, a subsidiary of Savoy Records. The track contained early references to rock and roll :
Well, the whole town's rockin' just about the break of day
Well, when the bar starts jumpin' you can hear the cats all say
Well, let's rock'n'roll, well, let's rock'n'roll
Yes, let's rock'n'roll till the break of day...[1]
In 1951 he moved on to Dot where he was teamed with the Griffin Brothers, an R&B orchestra led by brothers Jimmy Griffin (trombone) and Ernest "Buddy" Griffin (piano) from Norfolk, Virginia. They had toured widely with Amos Milburn, Paul Williams and others, and recorded as the backing band for Margie Day on two R&B Top 10 hits, "Street Walkin' Daddy" and "Little Red Rooster".
In June of that same year Brown was featured singer on the R&B Top 10 hit "Tra-La-La", credited to the Griffin Brothers Orchestra, and later in the year the combination reached # 1 on the R&B chart with "Weepin' and Cryin'", credited to The Griffin Brothers Orchestra featuring Tommy Brown.
The Griffin Brothers disbanded in 1954. Buddy Griffin later recorded with Gloria Swann, as the duo Buddy and Gloria who had an R&B hit with "I Wanna Hug Ya, Kiss Ya, Squeeze Ya", while Jimmy Griffin joined Atlantic Records. They both did not achieve the same hits as previous, and were dropped from their respective record labels.
In the early 1950s, Brown was called up for military service, and when he returned he moved to United Records in Chicago. He played for a while in Bill Doggett's band, and claimed to help write Doggett's hit "Honky Tonk". He also recorded with Walter Horton during this period.[2] Over the next decade he recorded R&B for a number of smaller labels, before starting to perform and record as a comedian in the 1960s and 1970s.
After a later career as a social care worker, he returned to performance in 2001, subsequently appearing in clubs and at blues festivals around the world.
Tommy
Brown does "Southern Women" from his album "Rockin'
Away My Blues"
Tommy
Brown & The Hogs Of Rhythm, Chains of love
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