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Donnerstag, 8. September 2016

08.09. Big Pete, Harmonica Fats, Guitar Shorty, Sonny Boy Terry, Juanma Montero * Smokey Wilson +









1927 Harmonica Fats*
1939 Guitar Shorty*
1967 Juanma Montero*
1977 Big Pete*
2015 Smokey Wilson+
Sonny Boy Terry*





Happy Birthday 

 

Big Pete    *08.09.1977

 

Big Pete (Pieter van der Pluijm)

 



Der 33-jährige niederländische Blues-Sänger und Harp-Spieler Pieter „Big Pete" van der Pluijm mag in Deutschland noch unbekannt sein, gilt in seinem Heimatland jedoch bereits seit längerer Zeit als ernstzunehmender Musiker.

Als 23-Jähriger wurde Pete zur Teilnahme an einer Europa-Tournee zu Ehren des legendären verstorbenen Mundharmonikaspielers Lester Butler und seiner Musik (Red Devils und Thirteen) eingeladen. Dabei wurde er von mehreren ursprünglichen Bandmitgliedern Lesters begleitet. Das Projekt war bei Publikum und Kritik ein voller Erfolg und so standen schon schnell weitere Tourneen und eine CD mit der Lester Butler Tribute Band auf dem Programm, welche Petes Ruf als Blues-Hoffnungsträger der Benelux-Länder festigte.

Pete trat auf zusammen mit internationalen Stars wie Alex Schultz, Mitch Kashmar, Monster Mike Welch, Hook Herrera, Matt Schofield, and Ian Siegal.

Inzwischen wächst sein internationaler Bekanntheitsgrad und Projekte in den USA folgen.
Randy Chortkoff , Geschäftsführer und –Inhaber von ‘Delta Groove Music' in den USA eröffnet ihm 2010 die Möglichkeit nach Los Angeles zu kommen und mit den „The Mannish Boys“ das Album „Shake form e“ zu produzieren.
Ein voller Erfolg.
Darauf folgte im Oktober 2011 sein erstes Solo Album 'Choice Cuts' (DGPCD149) unter dem beliebten Label "Delta Groove Music", welches 2012 in den weltweiten Radio Playlists Nummer Eins Status in der Blues Musik erreicht. Das Album wurde sogar für den beliebten BMA (Blues Music Award) nominiert, den sogenannten „Grammy“ in der Bluesszene.

36 year old Dutch blues vocalist and harp master Pieter “Big Pete” van der Pluijm may not yet be a familiar name in ‘mainstream’ music, but he’s already well-established in the international Blues World.

At 23, Pete was handpicked for a European memorial tour to honor the music and memory of legendary harmonica player and vocalist Lester Butler (the Red Devils and Thirteen), backed by several of Lester’s original band mates. The project was met with great success and critical acclaim, so more tours and a CD by the Lester Butler Tribute Band soon followed, securing Pete’s arrival on the scene as one of the premier next generation blues performers out of the Benelux region.

Since then, Big Pete has gone on to form and record many other successful projects including his debut release ‘Bathroom Acoustics’ by The Strikes, a couple of CDs by the rockin’ 50’s Chicago blues outfit The Backbones, and most recently, the more progressive and forward-thinking group M.O.C.T. (Men Of Considerable Taste). Pete’s growing reputation has also led to tours and performances backing many internationally acclaimed blues artists including Alex Schultz, Mitch Kashmar, Monster Mike Welch, Hook Herrera, Matt Schofield, and Ian Siegal.

The album ‘ Look At The Time ‘ (CLBZ 28), with M.O.C.T. (Men Of Considerable Taste), can be seen as one of the best blues/roots albums in Netherlands (and beyond) released in 2010. By then, the talents of Big Pete where also noticed by Director/owner Randy Chortkoff of ‘Delta Groove Music’ in the USA. Chortkoff offered him the opportunity to come out to Los Angeles, CA to perform on the album “Shake For Me” by The Mannish Boys.

After the success of his first US adventure, Pete recorded his first album for Delta Groove Records in Los Angeles, in May 2011.

The result, Pete’s first ‘solo’ album , ‘Choice Cuts’ (DGPCD149) was released October 18th 2011 and gained world-wide success.

In various radio playlists from all over the world, ‘Choice Cuts’ was picked as the # 1 blues album in 2012.

The album was even nominated for a prestigious ‘BMA’ (blues music award) in the category ‘best new artist debut’. These awards are known to be ‘the Grammys’ in blues music.

Since then, Pete with his own ‘Big Pete Blues Band’ went on to perform on many of the big blues festivals, both in Europe and beyond, and is regarded as one of the premier blues harmonica players in the world today.


 

 
Big Pete and Band - Red headed Woman 




Big Pete & Kim Wilson - Act Like You Love Me


https://www.youtube.com/watch?v=QNRe3BXxizA







Harmonica Fats   *08.09.1927

 


Harmonica Fats was actually Harvey Blackston, a former Louisianan who learned the blues growing up on his grandfather's farm; his longtime partner, Bernie Pearl, a native Angeleno, learned the blues from the musicians who frequented the fabled Ash Grove (a folk and blues club run by Pearl's brother Ed), including Lightnin' Hopkins and Mance Lipscomb.

In the early '50s, Fats took up harmonica as self-prescribed therapy while recuperating from an auto accident. Once confident, he formed a band, playing clubs around Los Angeles, and was known then as "Heavy Juice." Just as carefully, he perfected his songwriting, scoring on the R&B charts in 1961 with the self-penned single "Tore Up." After changing his name to Harmonica Fats, this success led to work as a studio musician, playing dates with performers as diverse as Bill Cosby, Ringo Starr, and Lou Rawls. He even did a stint as a traveling solo musician, seeking gigs as he drove in a station wagon around the country.
Pearl, through the Ash Grove, backed artists Big Mama Thornton, Bukka White, Mississippi Fred McDowell, Freddie King, and more. In the late '60s,'80s, and early '90s, he was a blues DJ, not only entertaining but educating with the knowledge he acquired during the Ash Grove days. Perhaps his best-known accomplishment was founding one of the West Coast's top blues events, the Long Beach Blues Festival, and he was also the promoter of the Big Time Blues Festival, also held in Long Beach.
The Bernie Pearl Blues Band originated in 1984, with Robert Lucas on harmonica. Fats replaced Lucas in 1986. Fats' witty songs and on-stage magnetism is captured on Live at Cafe Lido, an album originally intended as a demo. The high demand for that album led Fats and Pearl to form Bee Bump Records, with its first release being I Had to Get Nasty. Pearl convinced Fats to work as an acoustic duo, releasing Two Heads Are Better in 1995. The following year, they released Blow, Fat Daddy, Blow!, dedicated to the memory of Fats' wife and civil rights activist Johnnie Tillman. 

http://www.allmusic.com/artist/harmonica-fats-mn0000557182


HARMONICA FATS- How Low Is Low


https://www.youtube.com/watch?v=Q4tqOJ-ZFPQ

 

 

 

Guitar Shorty   *08.09.1934

David William Kearney



Guitar Shorty (born David William Kearney, September 8, 1939, Houston, Texas, United States) is an American blues guitarist. He is well known for his explosive guitar style and wild stage antics. Billboard magazine said, “his galvanizing guitar work defines modern, top-of-the-line blues-rock. His vocals remain as forceful as ever. Righteous shuffles...blistering, sinuous guitar solos.
Shorty was born in Houston but grew up mainly in Kissimmee, Florida where he began playing the guitar at an early age and began leading a band not long after. During his time in Tampa Bay, Florida, at age 16 he received his nickname, Guitar Shorty, when it mysteriously showed up on the marquee of the club he was playing as 'The Walter Johnson Band featuring Guitar Shorty.'[2] He steadily began to garner accloades from his peers and, soon after, he joined the Ray Charles Band for a year.[2] He recorded his first single in 1957, "You Don't Treat Me Right", for the Cobra label under the direction of Willie Dixon after Dixon saw him playing with the Walter Johnson Orchestra.[3] Eventually, he joined Guitar Slim's band and move to New Orleans, Louisiana. Slim inspired Shorty to incorporate more showmanship into his live performance style. Before long, Shorty was doing somersaults and flips on stage.
While in New Orleans, Shorty also fronted his own band which played regularly at the Dew Drop Inn where he was joined by special guests such as T-Bone Walker, Big Joe Turner and Little Richard.[2] Not one to stay in one place long, Shorty next moved to the West Coast at 19 in order to play with Sam Cooke. He played up and down the west coast and Canada until he met his future wife, Marcia, in Seattle, Washington Marcia was the half-sister of Jimi Hendrix. Jimi was so enthralled with Shorty’s playing, he attended several of Shorty's gigs in the Seattle area.[2][3][4] As Shorty’s popularity grew, he recorded three singles for the Los Angeles-based Pull Records label in 1959.
Shorty gigged steadily through the late 1950s and 1960s. During the 1970s he worked as a mechanic, playing music at nights and on weekends. He again became a full-time musician in 1975, struggling at times to make ends meet. In 1976 he made an appearance on Chuck Barris' Gong Show, winning first prize for performing the song "They Call Me Guitar Shorty" while balanced on his head.[4]
In 1985, he released his first album On the Rampage on Olive Branch Records. He went on his first tour to the UK in 1991, and there he recorded “My Way or the Highway” with Otis Grand which came out on JSP Records that year. This won him a W.C. Handy Award and garnering him interest from labels in the United States.[3] Shorty soon got a record deal with New Orleans based Black Top Records.
Topsy Turvy, his first on Black Top, came out in 1993. The album featured some fresh new songs as well as remakes of three classic numbers from his Pull days back in 1959. He released two more albums on Black Top in the 1990s. When Black Top folded in 1999, Shorty moved to Evidence Music, and released I Go Wild! in 2001.
In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley - A Tribute!, performing the song "Don't Let It Go (Hold On To What You Got)". He joined Alligator Records in 2004. His album that year, Watch Your Back and his 2006 album We the People both charted on the Billboard Top Blues Albums at numbers eleven and twelve, respectively. Billboard said of We The People, "it’s difficult to imagine that he ever tracks a better album than this one."[1]
A new Alligator Records CD ' Bare Knuckles was released in March 2010. He was then based out of Harlingen Texas where he met an up and coming guitarist named Sal Gomez. He mentored the guitarist and brought him on with his road band from 2010 until 2012. Sal left a lasting impression on Guitar Shorty for some of the more modern techniques he applied with the standard playing of blues guitar. "He is a baaaaaaaaaad boy" was frequently said by Guitar Shorty at most of the shows Sal played.
Guitar Shorty's guitar is named Red.
Another blues musician, John Henry Fortescue (1923–1976) on Trix Records was also named Guitar Shorty.



Guitar Shorty - "Hey Joe" [Lucerne 16/11/2012]

 

 

 

 

Sonny Boy Terry  *08.09.

 

As the years go on and his resume deepens, Houston, Texas bluesman Sonny Boy Terry is now being recognized as one of Texas' - if not one of America's top harmonica players and devoted blues recording artists. But Terry wasn't always Sonny Boy and it didn't happen the way many would imagine. Born Terry Jerome in the unlikely place of Van Wert in northwest Ohio on the state line near Fort Wayne, Indiana, he picked up a harmonica as a teenager in the 1970s , mostly, he says, "because I wanted to jam with my friends, who played guitars".  "I didn't know anything technically about music. I was just a huge music lover," he claims, "I didn't even know you needed more than one key of harmonica".

But that didn't last long. Terry realized he may actually have a knack for the instrument. He practiced day and night, driving all his friends crazy. Childhood friend and guitarist Mike Sowers mentored Terry on music basics. He taught Terry about playing in different keys and how to learn rock songs the right way. Mike then joined the local rock band Voyager and lobbied for Terry to run sound and play harmonica on a few songs. "I started by playing Doobie Brothers, Ozark Mountain Daredevils - stuff that was on the radio," Terry explains. "Crowds loved it so I was given more songs. Donn Dunno (band leader) and the guys were really kind to me. I appreciate them now more than ever. They gave me a crack at a dream," he says as he thinks back on those days.

Terry loved the opportunities playing with Voyager but the band was moving in different directions. At the time, the economy in Ohio and the rust belt was falling in depression - like mode. He had an after high school job at a cheese factory for Bordens Foods but was asked to resign allegedly for missing too many Fridays because gigging was more important. Terry remembers those days well, adding, "I couldn't work in a factory. I was too noisy and I was interested in doing something - anything with my life to get away from that type of life."

With a hometown band winding down and no decent jobs, Terry's dream was to go to the big city and play with the old black guys. He learned early on blues records were where all the good harmonica playing was. He was driving over to Mind Dust Music in near by Elida, Ohio buying every discount blues record he could get his hands on. He would also pick up Living Blues magazine and learn about contemporary blues scene all over the USA. "I had nothin' to lose", he says. "I knew if I wanted to play harmonica, I had to go somewhere else to do it."


In 1981, after winter broke, a friend in Houston had a job for him, so Terry hit the road in a '66 Chevy Impala SS, his album collection and blues harps never looking back. Little did he know what was in front of him.

Arriving in Houston, Terry instantly began checking out the blues scene. And oh what a scene it was! First he went to see Stevie Ray Vaughn at Fitzgeralds before he was famous. With his beat up strat, kimono, duct taped cowboy boots, and trademark hat, Terry was in awe. "Comng from a small town, SRV was the most exotic artist I had ever seen, " Terry states with amazement. If that wasn't enough, the following week he went to see Texas' best blues act, The Fabulous Thunderbirds with Kim Wilson on harmonica and Stevie's brother Jimmy Vaughn on guitar. What a band, he thought!

Terry thought God dropped here in Texas for a reason - for a chance at having a life doing what he truly loved. Right in the middle of  a roots and blues boom in the early 1980s, Terry could see any band he wanted on tour while checking a vibrant local scene.

It wasn't long before Terry was getting itchy himself to get in a band. He would sit in here and there but couldn't buy a gig. "I had chops, but not much discipline." he adds, "i wasn't used to improvising and I needed to do that to get started". He kept at it eventually meeting Johnny Winter's former and sometimes drummer Uncle John Turner. "I couldn't buy a gig before I met Uncle John. I guess hanging with him gave me a little credibility," he says. Through Uncle John, Terry met Rocky Hill, Johnny Winter, Joey Long, Alan Haynes and many others.

By this time, the bad US economy followed Terry to Texas and he was sleeping on Uncle John's apartment floor doing anything he could to avoid going back to Ohio. His first gig in Texas was with TC and the Cannonballs in 1983. TC was a legit Texas talent and a great way to break into the scene. They opened for The Fabulous T-Birds, The Nighhawks, John Hammond, Los Lobos, Robert Cray, Mighty Joe Young, The Sir Douglas Quintet, NRBQ, Paul Butterfield and just about everybody else it seemed.

After a year or so, Terry joined white hot and hard core local bluesman Jerry Lightfoot's band. Jerry had a huge foot in the door of Houston's black blues community and was instrumental in bringing many of these artists to white audiences revitalizing thier careers. They did shows with Jimmy T99 Nelson, Teddy Cry Cry Reynolds, Peppermint Harris, Sonny Tippet, Trudy Lynn, Pete Mayes, Joe Guitar Hughes, Grady Gaines and Big Walter Price. No name dropping here. This was the real deal.

Each experience Terry has had as a musician has always lef to a richer, more rewarding one. With Lightfoot, Terry was beginning to realize his dream. In fact, this is where Terry Jerome became "Sonny Boy" Terry. The story goes one night backstage Lighfoot and Terry were joking around about all the long monikers several local musicians had. Lightfoot jokingly called Terry Little Junior Sonny Boy Terry. That evening, KPFT radio dee jay Bud Jackson was emceeing the gig and introduced Terry as Sonny Boy Terry. The next day, Houston Chronicle music critic Marty Racine published Terry's name as "Sonny Boy Terry" and that was that. The name stuck.

"That experience was fantastic," the now Sonny Boy Terry reveals. "Not only was I realizing my dreams playing with the old black guys, we did shows backing band for Bo Diddley, John Lee Hooker and other touring acts. I was actually calling this a career".

In 1990 while Sonny Boy Terry was attending college, he hooked up with Lighnin' Hopkins protege' and jazz musician Kinney Abair. They performed as an acoustic mixed race duo that caught a lot of attention, but also with a band. They also worked shows with genuine Louisiana bluesman, Jimmy Dotson, who recorded with Excello V-Jay and Slim Harpo in the late 50s. This led to Terry first trip to Europe, performing at Blues Estafette - Holland's largest indoor blues festival. Terry returned the floowing year with Jimmy for a two week tour.

In 1991 Sonny Boy Terry joined major blues legend Joe Guitar Hughes band where held his seat for nearly four years. With Joe, Terry played over 200 gigs a year in Europe and the US. He recorded two fine albums with Joe: Live In Vrendenburg and Down Depressed and Dangerous. Like T-Bone Walker said, "A bluesman plays the high places and the low places".

Because of Joe's life-long friendship with blues legend Johnny Clyde Copeland, Terry was asked to play on Johnny's Catch up with the Blues album in 1993 recorded in Memphis at KIVA Studios wher Stevie ray recorded parts of In Step. Terry is featured on JCs Life's Rainbow, The Nature Song, the title cut Catch up with the Blues, and Rain. Recorded for Verve/Polygram, this was Terry first recording on a major label. 

Around this same period, Terry was deeply entrenched in Houston's blues scene. With the blessings of Joe Hughes, Johnny Copeland and Pete Mayes, Terry founded the 501(C)3 non-profit Houston Blues Society.  "It was started on 300 bucks of HBS T-shirts," he honestly says    "It was money I used to get tees instead of getting my car out of the shop",  They sold 50 shirts with a membership the very first night. Terry got his 300 dollar invesment back and that was the beginning of HBS.  Sonny Boy Terry served as president for three and a half years winning the prestigious "Keepin the Blues Alive" award for best organization in 1996 at the Blues Foundation's WC Handy Awards in Memphis. "My goal was to put Houston on the map", Terry boldly states. he adds, "I think we did a great job in short period. We brought alot of musicians from Houston to light." 


In 1996, Terry had all the best experience in imagineable. He was a full blown blues musician now with firey chops to burn. And after playing so many years with Joe Hughes, he was ready to lead a band.  It was slim pickins at first. Terry had never fronted a band singing before. But Terry says "I peaked playing Joe. I needed to be a self reliant adult and musician." Terry goes on by saying, " If I wanted to grow and get better, I need to sing and write my own songs."

Actually, it wasn't that tough to get rolling. Playing with Joe and Copeland, Sonny Boy had lots of street cred. Getting his singing up to speed took a few years but eventually led to a Monday night house gig at Billy Blues and a steady Thursday night at Houston's Shakespeare's Pub, where he has been for 12 years now.  He's performed at festivals all over the world including the Costa Rica Blues fest, The Blind Lemon Jefferson Blues Fest (Dallas), The Navasota Blues Festival and The Houston International Festival, among others.

In 2004 Sonny Boy Terry signed on with Austin imprint Doc Blues Records. They, in turn reissued his acclaimed Breakfast Dance album along with a newly minted "Live at Miss Ann's Playpen". Both these albums recieved strong reviews making the industry take notice making his future bright on the international blues scene. Sonny Boy Terry is now the biggest selling artist on Doc Blues. How did this happen? Terry explains, "I go out and gig as much as I can. Johnny Copeland always told me a bluesman has to make the record work for him." He adds, "There is no fat man with a cigar going to make you famous. That's an illusion. Selling albums off the bandstand is part of the job. That's reality in blues."

Now, an established session musician, solo recording artist, and an artist who has deep tied to Houston's rich blues history, Sonny Boy terry is pushing his career to another level. In 2005, terry appeared on BB King bandleader Calvin Owens' Keepin the Big Band Blues Alive. Talk about music history - that same year, he also joined rock and roll pioneer Roy Head for a remake of his 1965 number 5 hit "Treat her Right" - a version that was repleat with Little Richard's saxaphonist Grady Gaines on a honking Texas tenor solo.  In 2009, he added harmonica solos to Houston alt.country rock act Whiskeyboat's debut album Congress Hotel. 

2011 holds alot of promise for Sonny Boy Terry. He has a newly formed band and a new album is planned. He is releasing all his video footage on YouTube, and with a show in the midwest coming up with Brownsville Station drummer Henry H-Bomb Weck, if all goes well Sonny Boy Terry hopes to break out more in the US in the upcoming year.
Sonny Boy Terry 95 


https://www.youtube.com/watch?v=EBSPzjnq4Ck   






Juanma Montero  *08.09.1967





https://www.facebook.com/juanma1montero/photos_albums


https://www.facebook.com/The-44-Dealers-1403567106540311/about/?entry_point=page_nav_about_item&tab=page_info


The 44 Dealers - Searching For My Baby 
Leganés Blues Festival, Plaza de España, sábado 11 Abril 2015 (Filmado por Eugenio Moirón)
Juanma Montero (voz, guitarra), Fernando Jiménez (armónica), Román Mateo (guitarra), Javier Díaz (piano), Diego de la Torre (bajo), Pascu Monje (batería)


https://www.youtube.com/watch?t=11&v=XqVVhd0oI5Q  







R.I.P.

 

Smokey Wilson  +08.09.2015




 http://www.blindpigrecords.com/index.cfm?section=artists&artistid=65

Smokey Wilson (July 11, 1936 – September 8, 2015)[1][2] was an American West Coast blues guitarist. He spent most of his career performing West Coast blues and juke joint blues in Los Angeles, California. He recorded a number of albums for record labels such as P-Vine Records, Bullseye Blues and Texmuse Records. His career got off to a late start, with international recognition eluding him until the 1990s.

Biography

Born in Glen Allan, Mississippi, United States,[1] and raised in Lake Village, Arkansas, Robert Lee Wilson played alongside Roosevelt "Booba" Barnes, Big Jack Johnson, and Frank Frost, before his move to Los Angeles in 1970.[3] He opened the Pioneer Club in Watts, where he was the frontman of their house band. In addition his duties included booking blues musicians to appear at the club, which included Big Joe Turner, Percy Mayfield, Pee Wee Crayton and Albert Collins.[1] His down to earth guitar playing is typical of his Mississippi Delta background. "I bring the cotton-field with me," he said, "and I got the juke-joint inside."[3]

Wilson released two albums on Big Town Records in the 1970s.[1][3] His 1983 album, 88th Street Blues, for the Murray Brothers label (later re-issued on Blind Pig Records) had contributions from Rod Piazza (harmonica and record producer) and Hollywood Fats (rhythm guitar).[1] Wilson has performed three times at the Long Beach Blues Festival, in 1980, 1981 and 1999;[4] having earlier appeared at the San Francisco Blues Festival in 1978.

Smoke N' Fire (1993) and The Real Deal (1995) followed, as Wilson's reputation began to grow as he reached his sixtieth year.[1]

Whilst Wilson's years of residency at the Pioneer Club did little to try to secure nationwide recognition, he appeared on the PBS special, Three Generation of Blues, with Robert Cray and John Lee Hooker. He has also featured in various television commercials including UPN's "The Watcher," and FOX's "Divas", plus in a music video made by Babyface.[4]

On September 8, 2015, Wilson died in his sleep.


Smokey Wilson - Low rider (Deuce & a quarter) 




 

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Sonntag, 3. Januar 2016

03.01. Carl Wyatt, Bob Baldori, Charlie Spand, Michael Osborn * Amos Milburn, Harmonica Fats, Charlie Spand +








1990 Amos Milburn+
1943 Bob Baldori* 1)
1960 Carl Wyatt*
1905 Charlie Spand* 1)
2000 Harmonica Fats+
Michael Osborn* 1)


1) Genaues Datum ist dem Autor nicht bekannt




Happy Birthday

 

Carl Wyatt  *03.01.1960

 

 

Carl Wyatt spielt den Blues seit vielen Jahren. Carl ist der Blues. Aufgewachsen in einer Blues/Jazz- und Gospel Umgebung, war es nur natürlich für ihn, Musik zu machen.
Carls Live-Auftritte sind eine leistungsstarke Mischung aus Texas, Chicago und Delta Blues. Er spielte und tourte mit Künstlern wie “Archie Lee Hooker”, “Big Bo McGee”, “Little Whitt Wells”, “TW Henderson”, “Sharon Lewis”, “Tino Gonzales” …. mit all den oben genannten Künstler lebte er und ist eng verbunden mit dem Godfather des Boogie “John Lee Hooker”. Carl hat sich auf Radio-und Fernsehsendern beidseitig des Atlantiks profiliert.

Obwohl seine wichtigsten Einflüsse Künstler wie Blitz-Slim, Johnny Winter, Muddy Waters und John Lee Hooker sind, entwickelte Carl seinen eigenen Stil im Laufe der Jahre. Seine Liebe zum Delta Blues machte ihn zu Spezialisten der Slide-Gitarre, für die er bestens bekannt ist. Seine zahlreichen Konzerte und Festivals führten ihn durch Länder wie England, Belgien, Holland, Luxemburg, Deutschland, Irland, Frankreich, Nordirland, Dänemark, Spanien, Italien, Griechenland und den USA.

Carl Wyatt has many years of playing the blues to his credit. Having grown up in a blues, jazz and gospel environment, it was natural for him to pick up playing the blues one day.
Although his main influences are artists such as Freddie King, Johnny Winter, Muddy Waters and John Lee Hooker, Carl developed his own style over the years. His love for delta blues made him study slide guitar and gave him a more traditional approche to the blues. Nevertheless, Carl is well able to let it rip and set the stage on fire as he has done on many accasions.
Carl's live performances are a powerful blend of Texas, Chicago and Delta Blues. During his career he has played and toured with artists such as "Big Bo McGee", "Little Whitt Wells", "T.W. Henderson", "Neal Black & The Healers","Sharon Lewis", "Tino Gonzales", "Archie Lee Hooker"…., recorded with all of the above mentioned artists and lived and jammed with the Godfather of the Boogie "John Lee Hooker". He also played with "Watermelon Slim", "Noel Redding" (Jimmy Hendrix Band), "Dani NeLo", "The Drifters (with the their backing band)", "Lisa Otey", "Silky Sol" and many more....
Carl's many concert and festival performances led him through countries such as UK, Belgium, USA, Netherlands, Luxembourg, Germany, Ireland, France, Northern-Ireland, Denmark, Spain, Italy and Greece.

 

http://www.carl-wyatt.com/ 

 

Carl Wyatt - The Blues I'm Living


 

 

 

Bob Baldori  *1943*
 

* Der genaue Geburtstag ist dem Autor unbekannt 

 

 

Bob Baldori (born 1943), also known as "Boogie Bob", is an American rock, blues, and boogie musician and attorney.
Baldori founded the rock band The Woolies in 1964; the group had a national hit in 1966 with Bo Diddley's "Who Do You Love?". He has also pursued a solo career, performing in venues all over the country, and recording a 1994 solo album. He started working with Chuck Berry in 1966 at Lake Lansing, Michigan and subsequently recorded two albums with Berry. He has also worked with and performed with Muddy Waters, John Lee Hooker, Tom Rush, Luther Allison, Del Shannon, John Hammond, Hubert Sumlin and Bo Diddley; most recently, he has toured and recorded with Bob Seeley.
In addition to recording and performing his own material, Baldori operates his own recording studio, and has produced and engineered over 200 albums. He wrote and starred in the rock musical Almost Famous, with productions in Chicago, Toronto and in Michigan.
As an entertainment law attorney, Baldori represents many performers including Hubert Sumlin and Chuck Berry.
He lives in Okemos, Michigan with his family. 

http://en.wikipedia.org/wiki/Bob_Baldori 

http://www.boogiebob.com/ 



Arthur Migliazza and Boogie Bob Baldori 


 

 

 

 

 

 

  Michael Osborn  *03.01.

 


Michael Osborn was John Lee Hooker’s lead guitarist for 13 years. After his stint with Mr. Hooker, one of Michael’s songs, “Spellbound”, was featured on John Lee’s 1998 Grammy Award winner for Best Traditional Blues recording, “Don’t Look Back”! Michael has also backed, recorded with, or played with such musical luminaries as Robben Ford (Michael has a song credit on Robben’s “Blue Moon” release), Willie Dixon, Mark Ford, John Hammond, Bonnie Raitt, The Charles Ford Band, Elvin Bishop, Buddy Miles, Charlie Musselwhite, James Cotton, Albert Collins, Jimmy Witherspoon, Johnnie Johnson, Brownie McGee, Duke Jethro, Garth Webber, Patrick Ford, Chris Cain, Vala Cupp, Ken Emerson, Sugar Blue, Jimmy Thackery, Gary Smith, Mark Werner, Frankie Lee, Robert Cray, Guitar Shorty, David Raitt, Marc Hansen, DK Stewart, Bruce Kaphan, Curtis Salgado, Bill Rhoades, Sista Monica, Annie Sampson and so many others. Mike presently resides in the Portland, Oregon area and has been nominated three times by the Cascade Blues Association for best blues guitarist and once for blues best recording for his CD release of “Touch Tone.” As a member of Bill Rhoades and the Party Kings, he taken home 7 awards for best traditional blues band and was inducted into the CBA Hall of Fame as a member of that band!
Michael Osborn released three recording, “Cold Hearted Girl”, “A Case For The Blues” and “A Background In The Blues” on the Blue Rock’It Records Label and two recordings, “Touch Tone” and “What Goes Around” on his own, Checkerboard Records label!
“Michael Osborn is one of the most authentic blues guitarists around today. His style goes straight to the heart of the blues and he’ll steal your show if you don’t watch out!” ~ Robben Ford.


Little Suzanne - Michael Osborn and the Drivers 



https://www.youtube.com/watch?v=iW2_EXBpGqM 



Michael Osborn - Nightmare Blues 


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


 

 

 





 

 

Charlie Spand  *1905*

* Geburts- und Sterbedatum sind dem Autor nicht bekannt

 


Charlie Spand (* 1905[Anm. 1] in Chicago, Illinois; † unbekannt) war ein US-amerikanischer Jazz- und Blues-Pianist und Sänger.
1) Rex Harris & Brian Rust geben ca. 1905 als ungefähres Geburtsdatum an.
Seine Herkunft ist unbekannt; populär wurde er in Detroits Boogie Woogie-Szene und durch seine Aufnahmen während der Depressionszeit, die er für Paramount Records einspielte. Spand nahm zwischen 1929 und 1931 25 Nummern auf, einschließlich der Duette mit Blind Blake wie „Moanin’ the Blues“. Weitere Aufnahmen entstanden dann 1940 für Vocalion, wie der „Alabama Blues“, mit dem er seiner Heimat eine Reverenz erweist; weiterer Titel waren der „Mississippi Blues“ und „Levee Camp Man“, die seine Beziehung zum Mississippi-Delta[Anm. 2] aufzeigen. Bei seinen letzten acht Aufnahmen 1940 wurde er von Little Son Joe und Big Bill Broonzy begleitet; danach verschwand er von der Musikszene. Er arbeitete außerdem mit Josh White und Speckled Red.
Nach Ansicht der Autoren Rex Harris und Brian Rust gilt Charlie Spand als Pionier des Boogie-Woogie- und Barrelhouse-Stils; er war ein anerkannter und einflussreicher Pianist der 1920er Jahre. Spand war auch ein Bluessänger, der mit harter, hoch aufschlagender Stimme sang; seine wahre Bedeutung liegt jedoch in seinem technisch versierten Klavierspiel, das dem seiner Zeitgenossen voraus war.

Charlie Spand was an American blues and boogie-woogie pianist and singer, noted for his barrelhouse style. Spand was deemed one of the most influential piano players of the 1920s.[1] Little is known of his life outside of music, and his total recordings comprise only thirty-three (33) tracks.[2]
Biography
There is speculation about his place of birth. Allmusic stated that some claim Spand arrived in Elljay, Georgia,[3] whilst his self-penned track, "Alabama Blues," had a reference to his birth in that part of the country. Various blues historians also cited Spand's songs, "Levee Camp Man" and "Mississippi Blues," as evidence of connections there.[2]
More certain is that Spand, along with others such as William Ezell,[4] was one of those boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in Detroit, Michigan. In 1929, Spand relocated to Chicago, Illinois, where he met and began performing alongside Blind Blake. Spand recorded twenty five songs for Paramount Records between June 1929 and September 1931. The tracks were variously recorded in Richmond, Indiana, Chicago, and Grafton, Wisconsin. From the 1929 Richmond recording sessions, were seven songs which had guitar accompaniment to Spand's piano playing and singing. Most of these were directly attributed to Blake. During Spand's most notable recording, he and Blake had a small conversation during the making of "Hastings Street."[3][5] Another such duet occurred on "Moanin' the Blues."[2]
After a gap in his recording career, in June 1940 Spand recorded what turned out to be his final eight tracks, this time for Okeh Records.[3] These were made in Chicago, when Spand was backed by Little Son Joe and Big Bill Broonzy. However, after these recordings were made, no further reference to Spand can be located.[2]
In 1992, Document Records issued The Complete Paramounts (1929-1931). Yazoo Records' Dreaming the Blues: The Best of Charlie Spand (2002) had enhanced sound quality, but without the chronological track order favored by Testament.[3]
Spand's track "Back to the Woods" has been recorded by Kokomo Arnold, Joan Crane and Rory Block, while Josh White recorded his "Good Gal."

Charlie Spand Moanin' The Blues (1929) 


https://www.youtube.com/watch?v=tUmhapz1vZ8 

 

 

R.I.P.

 

Amos Milburn  +03.01.1980

 

 


Amos Milburn (* 1. April 1927 in Houston, Texas; † 3. Januar 1980 ebenda) war ein US-amerikanischer Boogie-Pianist und Sänger, der vor allem um 1950 herum erfolgreich war. Er gilt als Wegbereiter des Rock'n'Roll und beeinflusste zahlreiche Musiker, allen voran Fats Domino.
Biografie
Geboren in Houston als eines von 13 Geschwistern, spielte Milburn bereits mit 5 Jahren auf dem Klavier. Nach seinem Militärdienst während des Zweiten Weltkriegs, zu dem er sich mit 15 gemeldet hatte, trat er in Houston mit einer 16-köpfigen Band auf. 1946 machte er in Los Angeles seine ersten Aufnahmen. 1949 wurden "Hold Me Baby" und "Chicken Shack Boogie" seine ersten größeren Hits.
Milburn wurde einer der angesagtesten Musiker in Los Angeles. Zu seinen größten Erfolgen zählen u. a. "One Scotch, One Bourbon, One Beer", "Bad, Bad, Whiskey", "Thinking and Drinking" und "Trouble in Mind". Er ging auf Tour, zunächst mit seiner Band, später solo. Zeitweise begleitete er den Bluesmusiker Charles Brown.
1956 kehte Milburn nach Houston zurück, doch der Erfolg ließ nach. Dennoch blieb er weiterhin im Musikgeschäft aktiv. 1960 brachte er das swingende Weihnachtsalbum "Christmas (Comes but Once a Year)" heraus. 1962 erschienen Neuaufnahmen seiner alten Hits, bei denen auch Stevie Wonder mitwirkte.
1972 machte Milburn mit Johnny Otis seine letzte Aufnahme. Da er nach einem Schlaganfall linksseitig gelähmt war, musste Otis für ihn die linke Hand auf dem Klavier spielen. Nach einem zweiten Schlaganfall wurde ihm ein Bein amputiert. Wenig später starb Amos Milburn 1980 nach einem dritten Schlaganfall im Alter von 52 Jahren.
2010 wurde er in die Blues Hall of Fame der Blues Foundation aufgenommen.

Joseph Amos Milburn, Jr. (April 1, 1927 – January 3, 1980) was an African-American rhythm and blues singer and pianist,[1] popular during the 1940s and 1950s. He was born and died in Houston, Texas.
One commentator noted, "Milburn excelled at good-natured, upbeat romps about booze and partying, imbued with a vibrant sense of humour and double entendre, as well as vivid, down-home imagery in his lyrics."[1]
Life and career
Born in Houston, one of thirteen children, by the age of five years Milburn was playing tunes by piano. He enlisted in the United States Navy when he was fifteen and earned thirteen battle stars in the Philippines, before returning to Houston and organizing a sixteen-piece band playing in Houston clubs and was Managed by William & Geneva Church. Milburn participated with the Houston jazz and blues musicians. He was a polished pianist and performer and during 1946 attracted the attention of a woman who arranged a recording session with Aladdin Records in Los Angeles. Milburn's relationship with Aladdin lasted eight years during which he produced more than 75 sides. His cover version of "Down the Road a Piece" (1946) was a blues song with a Texas boogie beat that was similar in many respects to rock music.[2] However, none became popular until 1949 when seven of his singles got the attention of the R&B audience. "Hold Me Baby" and "Chicken Shack Boogie" landed numbers eight and nine on Billboard's survey of 1949's R&B Bestsellers.[3] He became one of the main performers associated with the Central Avenue music scene in Los Angeles. He was also a popular touring artist, and won awards from both Down Beat magazine (Best Blues and Jazz Star) and Billboard magazine (Top R&B Artist).[4] Among his best-known songs was "One Scotch, One Bourbon, One Beer". During 1950 Milburn's "Bad, Bad, Whiskey" scored the top of the R&B record chart and began a series of drinking songs (none written by Milburn, but several composed by Rudy Toombs). However, there is not any evidence that Milburn had an alcohol problem.[5]
Milburn continued his successful drinking songs through 1952 ("Thinking and Drinking", "Trouble in Mind") and was by now touring the country playing clubs. While touring the Midwest that summer, he announced that he would disband his combo team and continue as a solo act and that autumn he joined Charles Brown for a Southern concert tour. For the next few years each of his tours was composed of a series of one-nighters. After three years of solo performing he returned to Houston during 1956 to reform his band. During 1957 Milburn's releases with Aladdin Records did not sell well, and the record label, having its own problems, terminated. He tried to regain commercial success with a few more releases with Ace Records but his time had passed. Radio airplay was emphasizing on the teenage market.[6]
Milburn contributed to the R&B Yuletide canon twice. The first was in 1949, with "Let's Make Christmas Merry, Baby", on Aladdin Records, and then again during 1960 with "Christmas (Comes but Once a Year)" for King Records. The song appeared as the b-side of Brown's holiday classic "Please Come Home for Christmas".[4][7]
Milburn's final recording was for an album by Johnny Otis. This was during 1972 after he had been incapacitated by a stroke, so much so that Otis had to play the left-hand piano parts for his enfeebled old friend.[5] His second stroke resulted in amputation of a leg because of circulatory problems. He died soon after at the age of 52 years from a third stroke.[7]
Legacy
The Texan boogie-woogie pianist and singer was an important performer of blues music during the years immediately after World War II.[8] Milburn was one of the first performers to switch from sophisticated jazz arrangements to a louder "jump" blues. He began to emphasize rhythm and technical qualities of voice and instrumentation second.[9] His energetic songs, about getting "high", were admired by fellow musicians, such as Little Willie Littlefield, Floyd Dixon and his prime disciple, Fats Domino.[5]
He was a commercial success for eleven years and influenced many performers. Fats Domino credited Milburn consistently as an influence on his music.





Harmonica Fats  +03.01.2000

 

Harmonica Fats was actually Harvey Blackston, a former Louisianan who learned the blues growing up on his grandfather's farm; his longtime partner, Bernie Pearl, a native Angeleno, learned the blues from the musicians who frequented the fabled Ash Grove (a folk and blues club run by Pearl's brother Ed), including Lightnin' Hopkins and Mance Lipscomb.
In the early '50s, Fats took up harmonica as self-prescribed therapy while recuperating from an auto accident. Once confident, he formed a band, playing clubs around Los Angeles, and was known then as "Heavy Juice." Just as carefully, he perfected his songwriting, scoring on the R&B charts in 1961 with the self-penned single "Tore Up." After changing his name to Harmonica Fats, this success led to work as a studio musician, playing dates with performers as diverse as Bill Cosby, Ringo Starr, and Lou Rawls. He even did a stint as a traveling solo musician, seeking gigs as he drove in a station wagon around the country.
Pearl, through the Ash Grove, backed artists Big Mama Thornton, Bukka White, Mississippi Fred McDowell, Freddie King, and more. In the late '60s,'80s, and early '90s, he was a blues DJ, not only entertaining but educating with the knowledge he acquired during the Ash Grove days. Perhaps his best-known accomplishment was founding one of the West Coast's top blues events, the Long Beach Blues Festival, and he was also the promoter of the Big Time Blues Festival, also held in Long Beach.
I Had to Get Nasty
The Bernie Pearl Blues Band originated in 1984, with Robert Lucas on harmonica. Fats replaced Lucas in 1986. Fats' witty songs and on-stage magnetism is captured on Live at Cafe Lido, an album originally intended as a demo. The high demand for that album led Fats and Pearl to form Bee Bump Records, with its first release being I Had to Get Nasty. Pearl convinced Fats to work as an acoustic duo, releasing Two Heads Are Better in 1995. The following year, they released Blow, Fat Daddy, Blow!, dedicated to the memory of Fats' wife and civil rights activist Johnnie Tillman.




Harmonica Fats - How Low Is Low 




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