1910 Champion Jack
Dupree*
1943 Al Wilson*
1944 "Chicago"
Bob Nelson*
1948 Jeremy Spencer*
1951 Smoky Greenwell*
1955 Stanislav Barek*
1957 Kenny Brown*
1965 Jimmy D. Lane*
1966 Dudley Taft*
Happy Birthday
Al Wilson *04.07.1943
Alan „Blind Owl“ Christie Wilson (* 4. Juli 1943 in Boston, Massachusetts; † 3. September 1970 in Topanga, Kalifornien) war ein US-amerikanischer Sänger, Mundharmonikaspieler, Gitarrist und Komponist, der vor allem als Gründungsmitglied der Band Canned Heat bekannt war.
Wilson wuchs in seiner Heimatstadt Boston auf, studierte an der Boston University Musik und schloss dies mit einem Master ab. Er verdiente sich Geld hinzu, indem er in Cambridge in Cafés und Folk-Clubs auftrat, wie den bekannten Club 47 (später Club Passim), in dem damals bekannte Musiker wie Joan Baez, Bob Dylan, Tom Rush (oder später Suzanne Vega) auftraten.
Wilson galt als Blues-Historiker und -Plattensammler und schrieb während seines Studiums und danach verschiedene Artikel über Bluesmusiker für die Musikzeitschrift Broadside Of Boston, so auch über Robert Pete Williams und Son House.
Nachdem Son House 1964 von Dick Waterman, Nick Perls und Phil Spiro wiederentdeckt worden war, half ihm Wilson dabei, sich das Repertoire an Songs, das er in den 1930er und 1940er Jahren gespielt und aufgenommen, inzwischen aber vergessen hatte, neu zu erarbeiten. Zusammen veröffentlichten sie das Album Father of the Delta Blues (Columbia Records), bei dem Wilson auf einigen Stücken die zweite Gitarre oder Mundharmonika spielte.
1965 ging Wilson mit John Fahey auf eine unbedeutende Tournee von Boston nach Los Angeles. Von Fahey bekam Wilson den Spitznamen Blind Owl, da er dicke Brillengläser benötigte, um seine schwache Sehkraft auszugleichen. Später half Wilson Fahey bei dessen Masterarbeit über Charley Patton.
Über Fahey kam Wilson mit Bob Hite zusammen, mit dem er 1966 die Band Canned Heat gründete. Mit Canned Heat feierte er seine größten Erfolge. Er spielte die Leadgitarre, Mundharmonika, Piano und übernahm zusammen mit Hite den Gesang. Zusammen mit Canned Heat trat er 1967 beim Monterey Pop Festival und 1969 beim Woodstock-Festival auf. Seine hohe Tenorstimme gehört zu den wenigen, die bei der Dokumentation klar hörbar sind. Zu dieser Zeit galten er und Henry Vestine, laut dem Musikmagazin Downbeat, als das beste Gitarristen-Duo, wobei Vestine als der bessere Gitarrist und Wilson als der bessere Mundharmonikaspieler angesehen wurde.
Neben seiner Arbeit mit Canned Heat trat Wilson noch mit weiteren Musikern auf.
1969 traf Wilson zufällig Sunnyland Slim, mit dem er das Album Slim's Got His Thing Going On aufnahm und veröffentlichte. Neben ihm wirkten auch weitere bekannte Musiker wie Shakey Horton, Johnny Shines und Willie Dixon an dem Album mit.
1970 nahm er mit Son House bei einem Live-Auftritt im 100 Club, London, ein weiteres Album John The Revelator: The 1970 London Sessions auf.
Ebenfalls 1970 arbeitete Wilson mit seinem Vorbild John Lee Hooker zusammen und wirkte bei dem Album Hooker 'n' Heat mit, bei dem der Song The World Today entstand, den er am Piano begleitete.
Da Wilson mit seinem Erfolg nicht zurechtkam und sich übermäßig viele Sorgen um die Umwelt machte, verfiel er mehr und mehr in tiefe Depressionen und versuchte mehrfach sich umzubringen.
Im September 1970 starb Wilson im Alter von 27 Jahren in Topanga an einer Überdosis Barbiturate. Dies wird heute einvernehmlich als Selbstmord angesehen, obgleich er keinen Abschiedsbrief hinterlassen hat und es gemäß der Untersuchung auch eine versehentliche Überdosis gewesen sein könnte. Zudem galt er nicht als drogensüchtig, aber dafür als depressiv.
Trivia
Wilson war ein überzeugter Anhänger des Naturschutzes. So schrieb er 1969 das Lied Poor Moon zum Thema "Mondverschmutzung" und den Essay Grim Harvest über die Riesenmammutbaumwälder in Kalifornien, die von San Francisco bis nach Oregon reichen, welches im Inlay des Canned Heat Albums Future Blues abgedruckt ist.
Early years
Wilson was born and grew up in the Boston suburb of Arlington, Massachusetts.[1] He majored in music at Boston University and often played the Cambridge coffeehouse folk-blues circuit. He acquired the nickname "Blind Owl" owing to his extreme nearsightedness.[2] In one instance when he was playing at a wedding, he laid his guitar on the wedding cake because he did not see it. As Canned Heat's drummer, Fito de la Parra, wrote in his book: "Without the glasses, Alan literally could not recognize the people he played with at two feet, that's how blind the 'Blind Owl' was." [3] Wilson wrote for a newspaper in Boston and was considered one of the foremost experts on the blues musicians who came before him. A dedicated student of early blues, his biggest influences included Skip James, Robert Johnson, Son House, Charley Patton, Tommy Johnson, John Lee Hooker, Muddy Waters and Booker White. James was the most exalted figure in Wilson's personal music journey. In high school, Wilson studied James' 1931 recordings with great fascination. It was around that time Wilson began singing similar to James' high pitch. Wilson eventually perfected the high tenor, for which he would become known.
Canned Heat
With Canned Heat, Wilson performed at two prominent concerts of the 1960s era, the Monterey Pop Festival in 1967 and Woodstock in 1969. Although Canned Heat's performance was cut from the original theatrical release of the Woodstock film, they were featured in the 25th anniversary "Director's Cut." The exception was "Going Up the Country," which was featured in the opening credits of the original Woodstock film.[4] It has been referred to as the festival's unofficial theme song. Wilson also wrote and sang the notable "On the Road Again." In an interview with Down Beat magazine he remarked that, "...on On The Road Again [second LP] I appear in six different capacities – three tamboura parts, harmonica, vocal, and guitar, all recorded at different times." [5]
Wilson was a passionate conservationist who loved reading books on botany and ecology. He often slept outdoors to be closer to nature. In 1969, he wrote and recorded a song, "Poor Moon", which expressed concern over potential pollution of the moon. He wrote an essay called 'Grim Harvest', about the coastal redwood forests of California, which was printed as the liner notes to the Future Blues album by Canned Heat.
After Eddie 'Son' House's 'rediscovery' in 1964, Wilson taught him how to play again the songs House had recorded in 1930 and 1942 (which he had forgotten over a long absence from music); House recorded for Columbia in 1965 and two of three selections featuring Wilson on harmonica and guitar appeared on the set. On the double album Hooker 'N Heat (1970), John Lee Hooker is heard wondering how Wilson is capable of following Hooker's guitar playing so well. Hooker was known to be a difficult performer to accompany, partly because of his disregard of song form. Yet Wilson seemed to have no trouble at all following him on this album. Hooker concludes that "you [Wilson] musta been listenin' to my records all your life". Hooker is also known to have stated "Wilson is the greatest harmonica player ever"
Stephen Stills' song "Blues Man" from the album Manassas is dedicated to Wilson, along with Jimi Hendrix and Duane Allman.
Death
On September 3, 1970 Wilson was found dead on a hillside behind band mate Bob Hite's Topanga Canyon house. He was 27 years old. An autopsy identified his cause of death as acute barbiturate intoxication.[6] Wilson reportedly had attempted suicide a few months earlier, attempting to drive his car off a freeway in Los Angeles. He was briefly hospitalized for significant Depression, and was released after a few weeks.[7] Although his death is sometimes reported as a suicide, this is not clearly established and he left no note.[8] Wilson's death came just two weeks before the death of Jimi Hendrix and four weeks before the death of Janis Joplin.
Wilson was interested in preserving the natural world, particularly the redwood trees. When he died so too did the Music Mountain organization he had initiated dedicated to this purpose.[9] In order to support his dream, Wilson’s family has purchased a “grove naming” in his memory through the Save the Redwoods League of California. The money donated to create this memorial will be used by the League to support redwood reforestation, research, education, and land acquisition of both new and old growth redwoods.
Champion Jack Dupree *04.07.1910
Nachdem seine Eltern durch ein Feuer ums Leben gekommen waren, kam Dupree im Alter von zwei Jahren in das gleiche Kindererziehungsheim in New Orleans, in dem zuvor schon Louis Armstrong einige Jugendjahre verbracht hatte. Das Bluesspiel lernte er bei dem Barrelhouse-Pianisten Willie „Drive ’em down“ Hall. Ab 1930 lebte er zunächst in Chicago, danach in Detroit. 1935 wurde er Boxer in Indianapolis und absolvierte 107 Kämpfe.
Seine erste Aufnahmesession fand am 13. Juni 1940 in Chicago statt. Mit dem Warehouse Man Blues / Chain Gang Blues entstand seine erste von 10 Singles für OKeh Records, denen er bis Ende 1945 treu blieb. Hier wurde am 28. Januar 1941 als OKeh #06152 auch der von Willie Hall komponierte Junker Blues, veröffentlicht im April 1941, aufgenommen. Der Song bildete später die Grundlage für Fats Dominos erste Platte, The Fat Man und für Lawdy Miss Clawdy von Lloyd Price.
Im Zweiten Weltkrieg diente er ab 1943 als Schiffskoch bei der Marine im Pazifik. Nach zwei Jahren japanischer Kriegsgefangenschaft kehrte er 1946 in die USA zurück und widmete sich wieder der Blues-Musik. Dupree entwickelte sich nunmehr zu einem Label-Hopper, der für nur wenige Schallplattenaufnahmen bei einem Plattenlabel blieb, um dann wieder zu wechseln. Von Lenox über Continental wanderte er zu Solo Records, ohne dass dies zu einem messbaren Erfolg in den Rhythm & Blues-Charts geführt hätte. Erst beim zehnten Plattenlabel King Records entstand mit Walking the Blues / Daybreak Rock am 29. Mai 1955 (King #4812) der einzige Hit (Rang #6 der R&B-Charts) innerhalb Duprees langjähriger Plattenkarriere.
In den 1960er und 1970er Jahren lebte er in England und machte unter anderem Aufnahmen mit Eric Clapton und John Mayall. Er war verheiratet und hatte zwei leibliche Töchter und eine Adoptivtochter. Seit 1976 lebte er in Hannover, zuletzt im Hochhaus Lister Tor, und unternahm von hier aus bis zu seinem Tod etliche Tourneen, vor allem in Europa. Während er jedoch in den 1970er Jahren noch auf großen Bühnen und Festivals auftrat, wie 1971 beim Jazz-Festival in Montreux, fand man ihn in den 1980er Jahren auch auf wenig renommierten Bühnen, wo er, in eine sonderbare Verkleidung gesteckt, vor einer Handvoll Zuschauern spielte. In den Pausen erzählte er dem Publikum von seinen Kindheitserlebnissen mit dem Ku-Klux-Klan. 1990 kehrte er nach 36 Jahren zum ersten Mal nach New Orleans zurück. Dort entstanden die Aufnahmen für das Album Back Home In New Orleans.
http://de.wikipedia.org/wiki/Champion_Jack_Dupree
http://wasser-prawda.de/musik/biografien/champion-jack-dupree-1909-1992.html
William Thomas Dupree, best known as Champion Jack Dupree, was an American blues pianist. His birth date has been given as July 4, July 10, and July 23, 1908, 1909, or 1910. He died on January 21, 1992.
Biography
Champion Jack Dupree was a New Orleans blues and boogie-woogie pianist, a barrelhouse "professor". His father was from the Belgian Congo and his mother was part African American and Cherokee. He was orphaned at the age of two, and sent to the New Orleans Home for Colored Waifs, the alma mater of Louis Armstrong.
He taught himself piano there and later apprenticed with Tuts Washington and Willie Hall,[1][2] whom he called his 'father' and from whom he learned "Junker's Blues". He was also "spy boy" for the Yellow Pochahantas tribe of Mardi Gras Indians and soon began playing in barrelhouses and other drinking establishments.
He began a life of travelling, living in Chicago, where he worked with Georgia Tom, and in Indianapolis, Indiana where he met Scrapper Blackwell and Leroy Carr. While always playing piano he also worked as a cook. In Detroit, after Joe Louis encouraged him to become a boxer, he fought in 107 bouts, winning Golden Gloves and other championships and picking up the nickname 'Champion Jack', which he used the rest of his life.
He returned to Chicago at the age of 30 and joined a circle of recording artists, including Big Bill Broonzy and Tampa Red, who introduced him to the record producer Lester Melrose, who claimed composer credit and publishing on many of Dupree's songs. Dupree's career was interrupted by military service in World War II. He was a cook in the United States Navy and spent two years as a Japanese prisoner of war.
Afterwards his biggest commercial success was "Walkin' the Blues", which he recorded as a duet with Teddy McRae. This led to several national tours, and eventually to a European tour.
Dupree moved to Europe in 1960, first settling in Switzerland and then Denmark, England, Sweden and, finally, Germany.[3] During the 1970s and 1980s he lived at Ovenden in Halifax, England,[4] and a piano used by Dupree was later re-discovered at Calderdale College in Halifax.[5] Dupree continued to record in Europe with Kenn Lending Band, Louisiana Red and Axel Zwingenberger and made many live appearances, still working as a cook specializing in New Orleans cuisine. He returned to the United States from time to time and appeared at the New Orleans Jazz & Heritage Festival.
Dupree died of cancer on January 21, 1992 in Hanover, Germany.
Musical style and output
Dupree's playing was almost all straight blues and boogie-woogie. He was not a sophisticated musician or singer, but he had a wry and clever way with words: "Mama, move your false teeth, papa wanna scratch your gums." He sometimes sang as if he had a cleft palate and even recorded under the name Harelip Jack Dupree. This was an artistic conceit, as Dupree had excellent, clear articulation, particularly for a blues singer. Dupree would occasionally indulge in a vocalese style of sung word play, similar to Slim Gaillard's "Vout", as in his "Mr. Dupree Blues" included on The Complete Blue Horizon Sessions album.
He sang about life, jail, drinking and drug addiction; although he himself was a light drinker and did not use other drugs. His "Junker's Blues" was also transmogrified by Fats Domino into his first hit, "The Fat Man".[3] Dupree's songs included not only gloomy topics, such as "TB Blues" and "Angola Blues" (about Angola Prison, the infamous Louisiana prison farm), but also cheerful subjects like the "Dupree Shake Dance": "Come on, mama, on your hands and knees, do that shake dance as you please".
On his best known album, Blues from the Gutter for Atlantic, in 1959 he was accompanied on guitar by Larry Dale, whose playing on that record inspired Brian Jones of The Rolling Stones. Dupree was also noted as a raconteur and transformed many of his stories into songs. "Big Leg Emma's" takes its place in the roots of rap music as the rhymed tale of a police raid on a barrelhouse. In later years he recorded with John Mayall, Mick Taylor, Eric Clapton and The Band.[3]
Although Jerry Lee Lewis did not record Dupree's "Shake Baby Shake", the lyrics in his version of "Whole Lotta Shakin' Goin' On" - "You can shake it one time for me!" - echo Dupree's song.
Although best known as a singer and pianist in the New Orleans style, Dupree occasionally pursued more musically adventurous projects, including Dupree `n` McPhee, a collaboration with English guitarist Tony McPhee, recorded for Blue Horizon Records.
Biography
Champion Jack Dupree was a New Orleans blues and boogie-woogie pianist, a barrelhouse "professor". His father was from the Belgian Congo and his mother was part African American and Cherokee. He was orphaned at the age of two, and sent to the New Orleans Home for Colored Waifs, the alma mater of Louis Armstrong.
He taught himself piano there and later apprenticed with Tuts Washington and Willie Hall,[1][2] whom he called his 'father' and from whom he learned "Junker's Blues". He was also "spy boy" for the Yellow Pochahantas tribe of Mardi Gras Indians and soon began playing in barrelhouses and other drinking establishments.
He began a life of travelling, living in Chicago, where he worked with Georgia Tom, and in Indianapolis, Indiana where he met Scrapper Blackwell and Leroy Carr. While always playing piano he also worked as a cook. In Detroit, after Joe Louis encouraged him to become a boxer, he fought in 107 bouts, winning Golden Gloves and other championships and picking up the nickname 'Champion Jack', which he used the rest of his life.
He returned to Chicago at the age of 30 and joined a circle of recording artists, including Big Bill Broonzy and Tampa Red, who introduced him to the record producer Lester Melrose, who claimed composer credit and publishing on many of Dupree's songs. Dupree's career was interrupted by military service in World War II. He was a cook in the United States Navy and spent two years as a Japanese prisoner of war.
Afterwards his biggest commercial success was "Walkin' the Blues", which he recorded as a duet with Teddy McRae. This led to several national tours, and eventually to a European tour.
Dupree moved to Europe in 1960, first settling in Switzerland and then Denmark, England, Sweden and, finally, Germany.[3] During the 1970s and 1980s he lived at Ovenden in Halifax, England,[4] and a piano used by Dupree was later re-discovered at Calderdale College in Halifax.[5] Dupree continued to record in Europe with Kenn Lending Band, Louisiana Red and Axel Zwingenberger and made many live appearances, still working as a cook specializing in New Orleans cuisine. He returned to the United States from time to time and appeared at the New Orleans Jazz & Heritage Festival.
Dupree died of cancer on January 21, 1992 in Hanover, Germany.
Musical style and output
Dupree's playing was almost all straight blues and boogie-woogie. He was not a sophisticated musician or singer, but he had a wry and clever way with words: "Mama, move your false teeth, papa wanna scratch your gums." He sometimes sang as if he had a cleft palate and even recorded under the name Harelip Jack Dupree. This was an artistic conceit, as Dupree had excellent, clear articulation, particularly for a blues singer. Dupree would occasionally indulge in a vocalese style of sung word play, similar to Slim Gaillard's "Vout", as in his "Mr. Dupree Blues" included on The Complete Blue Horizon Sessions album.
He sang about life, jail, drinking and drug addiction; although he himself was a light drinker and did not use other drugs. His "Junker's Blues" was also transmogrified by Fats Domino into his first hit, "The Fat Man".[3] Dupree's songs included not only gloomy topics, such as "TB Blues" and "Angola Blues" (about Angola Prison, the infamous Louisiana prison farm), but also cheerful subjects like the "Dupree Shake Dance": "Come on, mama, on your hands and knees, do that shake dance as you please".
On his best known album, Blues from the Gutter for Atlantic, in 1959 he was accompanied on guitar by Larry Dale, whose playing on that record inspired Brian Jones of The Rolling Stones. Dupree was also noted as a raconteur and transformed many of his stories into songs. "Big Leg Emma's" takes its place in the roots of rap music as the rhymed tale of a police raid on a barrelhouse. In later years he recorded with John Mayall, Mick Taylor, Eric Clapton and The Band.[3]
Although Jerry Lee Lewis did not record Dupree's "Shake Baby Shake", the lyrics in his version of "Whole Lotta Shakin' Goin' On" - "You can shake it one time for me!" - echo Dupree's song.
Although best known as a singer and pianist in the New Orleans style, Dupree occasionally pursued more musically adventurous projects, including Dupree `n` McPhee, a collaboration with English guitarist Tony McPhee, recorded for Blue Horizon Records.
http://wasser-prawda.de/musik/biografien/champion-jack-dupree-1909-1992.html
Dudley Taft *04.07.1966
Dudley S. Taft (born July 4, 1966, Washington, D.C.) is an American musician. Taft is a blues/rock musician that fronts his own band and was a songwriting member of Seattle band Sweet Water and member and chief songwriter of Seattle, Washington-based rock band Second Coming.Sweet Water
Sweet Water, founded in 1990, released its first Record Sweet Water in 1993. The album was produced by Don Gilmore and mixed by Tim Palmer. The band toured behind the album opening up for Winger, Candlebox and Alice in Chains. The accompanying music video for the Head Down single was played on MTV’s 120 Minutes and was added to regular rotation on M2. The band’s music has been used on television in episodes of MTV’s “Daria”, “Amongst Friends” and “Road Rules”, among others. A second record was recorded in 1995, produced and mixed by Dave Jerden. Taft left the band during the 1995 sessions. Sweet Water was dropped later that year by record label East West/Elektra.
Second Coming
In 1995 Taft joined Travis Bracht, Johnny Bacolas and James Bergstrom to form Second Coming. Starting out as a cover band called “FTA”, they wrote songs throughout 1996 and played them live at their gigs. By 1997, they started playing the Seattle area under the name Second Coming. Later that year, the band signed a six record deal with Gary Gersch, then the president of Capitol Records. Their self-titled release resulted in two Rock Radio hits that both went to #16 and #11 on the Billboard Mainstream Rock Charts in 1997 and 1998. In 1998 and 1999 the band toured with VAST, Fuel, Candlebox and Monster Magnet.
Omnivoid
After leaving Second Coming in the early 2000s, Taft formed the band Omnivoid with singer Patrick Napper, bassist Robot, and drummer Andy Gregg. They released two studio EPs titled Combustion and Ignition respectively in 2005 and 2006 before moving on to other projects.
Dudley Taft Band
Taft started a blues/rock band in 2007 under his own name, with Scott Vogel on drums and Evan Sheeley on Bass. Their first CD, entitled "Left For Dead" was released in March 2010, with a mixture of originals and traditional blues covers. The album was given five stars by John Vermilyea on [Blues Underground Network][1]. In 2011, Taft signed a two record deal with the German-based label M.i.G. "Left For Dead" was released world-wide release on August 26th, 2011, with the addition of a bonus track "When The Levee Breaks". Dudley Taft toured the Netherlands in January 2012. Reviews from bluesmagazine.nl, Keysandchords and more all rated ***** 5 stars for the "Left for Dead" CD. Taft then hired John Kessler to play bass and Chris Leighton to play drums for the next CD and live shows in Seattle and Europe. A DVD was released on March 5th, 2012 called "Dudley Taft live at Highway 99," performed August 6th, 2011 in Seattle, Washington. On May 7th, 2013, Taft released Deep Deep Blue, his second blues rock studio album on his own label, America Blues Artist Group, and in Europe on M.i.G. Deep Deep Blue won the Best USA Blues Rock Album on the Underground Blues Network.[1] Taft made three HD videos for Deep Deep Blue, "The Waiting" directed by Alex Hoelscher, "God Forbid" directed by Matthew Kreig, and "Meet Me In The Morning" by Matt Minnotte and David Molinatto.[2]
The Waiting
His most recent song "The Waiting" had Alyssa Lynn James in the music video.
Jeremy Spencer *04.07.1948
Jeremy Spencer (* 4. Juli 1948 in Hartlepool) war eines der Gründungsmitglieder der britischen Rock-Blues Band Fleetwood Mac. Entdeckt wurde er von Mike Vernon bei einem Auftritt mit seiner Band, den „The Levi Set Blues“, in Birmingham.
Obgleich Vernon keine Zukunft für den Rest der Band sah, war er von Spencers Slidegitarrenspiel beeindruckt: „Jeremy really blew me away.“ Jeremy war eher klein, mit schwarzen lockigen Haaren, nicht anders als Peter Green, und spielte Slide mit einer großen halbakustischen E-Gitarre. Vernon, der wusste, dass Peter Green einen Gitarristen für seine Band suchte, arrangierte ein Treffen der beiden. Bald danach fingen sie an, zusammen mit dem Schlagzeuger Mick Fleetwood und dem Bassisten Bob Brunning zu proben. Spencer war erst 18 Jahre alt, als er bei Fleetwood Mac - wie sich die Band später nannte - einstieg.
Spencers Beitrag zur Band bestand aus Coverversionen von alten Elmore-James-Songs. Er imitierte James so perfekt, dass Mick Fleetwood einmal sagte: „Jeremy ist wie ein Chamäleon, im besten Sinne des Wortes natürlich“. Die Fähigkeit Jeremys, Rock'n'Roll-Größen wie Elvis, Little Richard oder Buddy Holly nachzuahmen, brachte die Band dazu, Parodien von bekannten Popsongs aus den fünfziger Jahren zu spielen. Trotz seiner unterhaltenden Parodien war Spencer ein Musiker, dem es nicht unbedingt lag, eigene Songs zu schreiben, was er immer abgelehnt hatte. Im Januar 1970, nach der Veröffentlichung der LP „Then Play On“, zu der Spencer lediglich eine kleine Klavier-Passage (Oh well part 2) beisteuerte, veröffentlichte er ein Soloalbum mit Rock'n'Roll-Satire, auf dem er von Rockabilly über Boogie, Elvis Presley bis hin zu Pink Floyd alles parodierte. Das Album wurde zusammen mit den anderen Fleetwood Mac-Mitgliedern eingespielt. Es gab sogar ein Gespräch zwischen Peter Green und Spencer, zusammen eine epische Platte mit religiösen Themen aufzunehmen, aber dazu kam er nie.
Nachdem Peter Green Fleetwood Mac im Mai 1970 verlassen hatte, nahm Jeremy noch eine letzte Platte, „Kilnhouse“, mit der Band auf. Er war mit seiner (und Danny Kirwans) Aufgabe – das Loch zu füllen, das Peter Green hinterlassen hatte – recht unzufrieden. „Alles, was ich spielen kann, ist Rock ’n’ Roll. Peter war ein entwickelter Musiker. Ich könnte nicht das Material liefern, das die Leute jetzt von uns erwarten.“
Zwei Wochen später, bei ihrer Tour zur Präsentation des Albums, verschwand Jeremy in Los Angeles. Er hatte das Hotel um 3:00 Uhr nachmittags verlassen, um eine Buchhandlung auf dem Hollywood Blvd. zu besuchen. Auf dem Weg dorthin wurde er auf der Straße von einem Mitglied der religiösen Sekte „Kinder Gottes“ angesprochen. Da er am Abend des Konzertes nicht auftauchte, wurde die Polizei eingeschaltet. Fünf sorgenerfüllte Tage später ließ sich Jeremys Spur bis zum Hauptquartier der „Kinder Gottes“, einem Lagerhaus im Stadtzentrum von L. A., verfolgen. Um Spencer sehen zu können, musste sein Manager Clifford Davis eine Geschichte über eine ernsthafte Krankheit von Jeremys Frau Fiona erfinden. Laut der Aussage eines Roadies von Fleetwood Mac, der mit dabei war, ging Spencer benommen herum wie ein Zombie, ganz als hätte man ihn einer Gehirnwäsche unterzogen. „Es tat mir innerlich weh, ihn so zu sehen. Sein Kopf war rasiert und er antwortete jetzt auf den biblischen Namen Jonathan.“ Davis und Spencer unterhielten sich 3 Stunden lang, während Mitglieder des Kultes Jeremys Arme rieben und wiederholt „Jesus liebt dich“ sangen. Ganz wie Peter Green fühlte sich auch Jeremy der ganzen Verehrung unwürdig, die er mit der Band erhalten hatte. Ironischerweise baten die restlichen Bandmitglieder Peter Green, für Jeremy einzuspringen, was dieser auch tat.
1975, als Jeremy nach London zurückkehrte, formierte er eine neue Band mit dem Namen „Albatross“ mit anderen Mitgliedern der „Kinder Gottes“. Selbstverständlich umfasste ihr Repertoire „seine unermüdlichen Tribute an Elmore James, dieses Mal vermutlich mit einer sauberen Gewissenhaftigkeit gespielt.“ 1979 veröffentlichte er das Album „Flee“.
Jeremy ist bis heute ein Teil der „Familie“, wie die „Kinder Gottes“ heute genannt werden, und ist noch immer ein begeisterter Musiker.
Im März 1995 spielte er bei einigen Konzerten in Indien mit der Gruppe „Heart to Heart“, die ebenfalls aus Mitgliedern der „Familie“ besteht. Außerdem trat er Anfang 1998 in Bombay und in Neu-Delhi auf. Am 12. Februar 1998 wurde er in die Rock ’n’ Roll Hall of Fame in New York aufgenommen.
Im Jahre 2006 erschien ein neues Album, in Norwegen mit norwegischen Musikern aufgenommen.
http://de.wikipedia.org/wiki/Jeremy_Spencer
Jeremy Cedric Spencer (born 4 July 1948) is a British musician, best known as one of the guitarists in the original line-up of Fleetwood Mac.[1] A member since Fleetwood Mac's inception in July 1967, he remained with the band until his abrupt departure in February 1971, when he joined a religious group called the "Children of God", now known as "The Family International", of which he is still a follower. After a pair of solo albums in the 1970s, he continued to tour as a musician, but did not release another album until 2006. Releasing further solo albums in 2012 and 2014, Spencer has also recorded as part of the folk trio Steetley.
Personal life
Spencer was born in Hartlepool, County Durham, and began taking piano lessons at the age of nine. Switching to guitar in his teens, his speciality became the slide guitar, and he was strongly influenced by the American blues musician Elmore James.[2]
Fleetwood Mac
In the summer of 1967 Spencer came to the attention of ex-Bluesbreakers guitarist Peter Green, who was looking for another musician to join him in his new Fleetwood Mac project. Green had recruited drummer Mick Fleetwood and temporary bassist Bob Brunning, and wanted a second guitar player to fill out the sound onstage. Spencer was then playing with blues trio The Levi Set, and was already an accomplished slide guitarist and pianist. He fitted in well, and soon after his arrival the band's intended bassist John McVie eventually joined.
This line-up of Fleetwood Mac recorded two albums of traditional blues songs, with Spencer contributing many variations on the Elmore James theme, particularly centred around James' version of "Dust My Broom", plus a few songs of his own. Green became frustrated because Spencer did not seem willing to contribute to Green's songs, whereas Green always played on Spencer's recordings where necessary.[3] Since Spencer's musical contributions to the band were too narrowly focused, Green and Fleetwood brought in a third guitarist, 18-year-old Danny Kirwan, after 1968's Mr. Wonderful. This album featured several of Spencer's Elmore James tunes.
Green and Kirwan found that they worked well together musically, quickly developing the style that provided hits such as "Albatross", "Man of the World" and "Oh Well", none of which featured Spencer. Spencer found himself slightly isolated within the band, and chose to contribute very little to the band's third album Then Play On. It was intended to complement this album with a separate EP of Spencer's work, but this never materialised. In the end, his input amounted to some piano on Green's neo-classical epic "Oh Well Pt. 2".
On stage however, Spencer was an integral part of the band, with a raucous routine of old blues songs which were extremely popular with audiences. Spencer was a gifted mimic,[2] providing excellent impersonations of Elvis Presley, Buddy Holly, Elmore James, John Mayall and whoever else he felt like sending up at the time. He was also often given to occasional suggestive behaviour onstage, particularly at early concerts, which sometimes landed the band in trouble with promoters and venue owners, and got them banned from London's Marquee Club.[4] This wild onstage atmosphere was caught in Spencer's recording "Someone's Gonna Get Their Head Kicked in Tonite", which was chosen as the B-side to the gentle "Man of the World" single in 1969.
Away from the stage, Spencer was often quiet and withdrawn, and other band members recall him often reading the Bible in his hotel room, strongly at odds with his on-stage persona.[5]
Spencer became the first member of Fleetwood Mac to release a solo album, simply titled Jeremy Spencer, in 1970. This album featured many 1950s parodies and amusing songs but was not a success. It has not yet been officially released on CD.
When Green left Fleetwood Mac in mid-1970, the band were in a state of flux and there was a possibility of not continuing. However, the band held together, and both Spencer and Kirwan worked on new songs, which appeared on the Kiln House album released in the late summer of 1970. For the first time, the defining Elmore James songs were absent on Kiln House; instead, this album featured more of Spencer's 1950s parodies, including the Buddy Holly tribute "Buddy's Song". Another song, "One Together", touched on the many different personas that Spencer used onstage.[5]
During a tour of the United States in February 1971 with new keyboardist Christine McVie now having joined the band, Spencer grew disillusioned with his life in Fleetwood Mac, and has mentioned in several interviews an incident when the band were listening to a recording of an old concert. When he heard himself singing, he said, "That sounds horrible. It sounds like shit."[4] According to one account by Mick Fleetwood, Spencer apparently had difficulty recovering from a mescaline trip he had experienced very early on the US tour. Shortly before a journey of the band from San Francisco to Los Angeles, LA experienced a major earthquake. Being in a fragile mental state and filled with strong negative premonitions, Spencer was very apprehensive about having to travel to LA. He unsuccessfully pleaded with Fleetwood to cancel this leg of the tour.[6] Shortly after arriving in LA on the day of a gig the group was scheduled to perform at the Whisky A Go Go, Spencer left the hotel room he shared with Fleetwood to visit a bookshop on Hollywood Boulevard. He did not return, forcing the cancellation of that evening's concert while the band and members of their entourage went searching for him. Some days later, he was found to have joined the religious group the Children of God, and he declared that he no longer wanted to be involved with Fleetwood Mac. Despite appeals from the band's manager, Clifford Davis, to fulfil his obligations to Fleetwood Mac, Spencer could not be persuaded to rejoin the band, and thus they had to struggle on without him, first recalling Peter Green out of retirement as an emergency measure, and later recruiting new guitarist Bob Welch.[6]
Despite many rumours of brainwashing and forced induction into the organisation, Spencer has always maintained that he joined the organisation of his own free will. He had been approached by a young man named Apollos, who engaged Spencer in conversation about God, and invited him to a nearby mission where other members were staying. During the evening, Spencer became convinced that this change of direction was the best course for him to take, and by the time Fleetwood Mac found him, his mind was made up.[7] Despite his continued confidence that he made the right choice, he has said that the manner of his departure from the band was regrettable: "The way I left was wrong and a mistake. I should've told them right away but I was desperate."[8]
After Fleetwood Mac
Spencer and his then-wife Fiona moved to the USA to settle in with the Children of God, and he soon formed a new band within the organisation and played free concerts around the country. An album was recorded, Jeremy Spencer and the Children, although without any commercial success. Relatively little is known about this period of his life, but he travelled the world recording a considerable amount of music for the purposes of the organisation, and moved to Brazil in 1975 and then to Italy in 1977.[9]
In 1978, a member of the Children of God hired Martin and Steven Machat to represent Spencer and his new band. The Machats then secured them a major record deal with Atlantic Records in New York. In 1978–79, the newly formed Jeremy Spencer Band recorded the album Flee, which had a little commercial success. During the 1980s Spencer lived in the Philippines, before working in India in the 1990s, holding charity concerts. He later lived in Ireland and then Germany, and still works for the Children of God (now called the Family International), mainly as a book illustrator and story writer.[8] He has always continued to play music, often just for his own amusement, but recently he has appeared at various blues and gospel conventions, and in 2006 he released a new album, Precious Little, which was recorded in Norway. The album showed a return to the blues and the slide guitar style that he became famous for whilst he was with Fleetwood Mac.
Spencer was inducted into the Rock and Roll Hall of Fame in 1998 for his work as part of Fleetwood Mac.
During the 2000s there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Peter Green and Jeremy Spencer. Whilst these two guitarists and vocalists apparently remain unconvinced of the merits of such a project,[10] Danny Kirwan (who first joined the band in 1968 as a third guitarist and vocalist) has remained as silent as ever on the subject. In April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bassist John McVie said of the reunion idea:
"If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. I know Mick would do it in a flash. Unfortunately, I don't think there's much chance of Danny doing it. Bless his heart."[11]
More recently, Spencer has been in contact with his former Fleetwood Mac bandmates Mick Fleetwood and John McVie, and according to McVie, the three had informal jam sessions with Rick Vito at Fleetwood's home.[12] Spencer also took part in the TV documentary Peter Green: Man of the World,[13] in which he was interviewed together with John McVie and Mick Fleetwood.
In 2012, Spencer released a new album, Bend in the Road, which was recorded at Tempermill Studios in Ferndale, Michigan (a suburb of Detroit). This was followed in 2014 by Coventry Blue.
Spencer occasionally teams up with Detroit area musicians for live performances. Among those are The Boa Constrictors, Brett Lucas (Bettye LaVette), Todd Glass, James Simonson, Pete Berg, Steve Allen, and Kirk Barkel.[citation needed]
Several of Spencer's children formed a band in England called JYNXT. The current band members include Nat, Koa, and Tally Spencer.
Steetley
During 2012–13, Spencer became involved with Hartlepool-based singer-songwriter Andy Oliver, and they eventually decided to record songs together. They formed a trio named Steetley, along with the Northern Irish musician and actress Janet Bamford, and in December 2013 released their debut album, The Moment She Fell.
Personal life
Spencer was born in Hartlepool, County Durham, and began taking piano lessons at the age of nine. Switching to guitar in his teens, his speciality became the slide guitar, and he was strongly influenced by the American blues musician Elmore James.[2]
Fleetwood Mac
In the summer of 1967 Spencer came to the attention of ex-Bluesbreakers guitarist Peter Green, who was looking for another musician to join him in his new Fleetwood Mac project. Green had recruited drummer Mick Fleetwood and temporary bassist Bob Brunning, and wanted a second guitar player to fill out the sound onstage. Spencer was then playing with blues trio The Levi Set, and was already an accomplished slide guitarist and pianist. He fitted in well, and soon after his arrival the band's intended bassist John McVie eventually joined.
This line-up of Fleetwood Mac recorded two albums of traditional blues songs, with Spencer contributing many variations on the Elmore James theme, particularly centred around James' version of "Dust My Broom", plus a few songs of his own. Green became frustrated because Spencer did not seem willing to contribute to Green's songs, whereas Green always played on Spencer's recordings where necessary.[3] Since Spencer's musical contributions to the band were too narrowly focused, Green and Fleetwood brought in a third guitarist, 18-year-old Danny Kirwan, after 1968's Mr. Wonderful. This album featured several of Spencer's Elmore James tunes.
Green and Kirwan found that they worked well together musically, quickly developing the style that provided hits such as "Albatross", "Man of the World" and "Oh Well", none of which featured Spencer. Spencer found himself slightly isolated within the band, and chose to contribute very little to the band's third album Then Play On. It was intended to complement this album with a separate EP of Spencer's work, but this never materialised. In the end, his input amounted to some piano on Green's neo-classical epic "Oh Well Pt. 2".
On stage however, Spencer was an integral part of the band, with a raucous routine of old blues songs which were extremely popular with audiences. Spencer was a gifted mimic,[2] providing excellent impersonations of Elvis Presley, Buddy Holly, Elmore James, John Mayall and whoever else he felt like sending up at the time. He was also often given to occasional suggestive behaviour onstage, particularly at early concerts, which sometimes landed the band in trouble with promoters and venue owners, and got them banned from London's Marquee Club.[4] This wild onstage atmosphere was caught in Spencer's recording "Someone's Gonna Get Their Head Kicked in Tonite", which was chosen as the B-side to the gentle "Man of the World" single in 1969.
Away from the stage, Spencer was often quiet and withdrawn, and other band members recall him often reading the Bible in his hotel room, strongly at odds with his on-stage persona.[5]
Spencer became the first member of Fleetwood Mac to release a solo album, simply titled Jeremy Spencer, in 1970. This album featured many 1950s parodies and amusing songs but was not a success. It has not yet been officially released on CD.
When Green left Fleetwood Mac in mid-1970, the band were in a state of flux and there was a possibility of not continuing. However, the band held together, and both Spencer and Kirwan worked on new songs, which appeared on the Kiln House album released in the late summer of 1970. For the first time, the defining Elmore James songs were absent on Kiln House; instead, this album featured more of Spencer's 1950s parodies, including the Buddy Holly tribute "Buddy's Song". Another song, "One Together", touched on the many different personas that Spencer used onstage.[5]
During a tour of the United States in February 1971 with new keyboardist Christine McVie now having joined the band, Spencer grew disillusioned with his life in Fleetwood Mac, and has mentioned in several interviews an incident when the band were listening to a recording of an old concert. When he heard himself singing, he said, "That sounds horrible. It sounds like shit."[4] According to one account by Mick Fleetwood, Spencer apparently had difficulty recovering from a mescaline trip he had experienced very early on the US tour. Shortly before a journey of the band from San Francisco to Los Angeles, LA experienced a major earthquake. Being in a fragile mental state and filled with strong negative premonitions, Spencer was very apprehensive about having to travel to LA. He unsuccessfully pleaded with Fleetwood to cancel this leg of the tour.[6] Shortly after arriving in LA on the day of a gig the group was scheduled to perform at the Whisky A Go Go, Spencer left the hotel room he shared with Fleetwood to visit a bookshop on Hollywood Boulevard. He did not return, forcing the cancellation of that evening's concert while the band and members of their entourage went searching for him. Some days later, he was found to have joined the religious group the Children of God, and he declared that he no longer wanted to be involved with Fleetwood Mac. Despite appeals from the band's manager, Clifford Davis, to fulfil his obligations to Fleetwood Mac, Spencer could not be persuaded to rejoin the band, and thus they had to struggle on without him, first recalling Peter Green out of retirement as an emergency measure, and later recruiting new guitarist Bob Welch.[6]
Despite many rumours of brainwashing and forced induction into the organisation, Spencer has always maintained that he joined the organisation of his own free will. He had been approached by a young man named Apollos, who engaged Spencer in conversation about God, and invited him to a nearby mission where other members were staying. During the evening, Spencer became convinced that this change of direction was the best course for him to take, and by the time Fleetwood Mac found him, his mind was made up.[7] Despite his continued confidence that he made the right choice, he has said that the manner of his departure from the band was regrettable: "The way I left was wrong and a mistake. I should've told them right away but I was desperate."[8]
After Fleetwood Mac
Spencer and his then-wife Fiona moved to the USA to settle in with the Children of God, and he soon formed a new band within the organisation and played free concerts around the country. An album was recorded, Jeremy Spencer and the Children, although without any commercial success. Relatively little is known about this period of his life, but he travelled the world recording a considerable amount of music for the purposes of the organisation, and moved to Brazil in 1975 and then to Italy in 1977.[9]
In 1978, a member of the Children of God hired Martin and Steven Machat to represent Spencer and his new band. The Machats then secured them a major record deal with Atlantic Records in New York. In 1978–79, the newly formed Jeremy Spencer Band recorded the album Flee, which had a little commercial success. During the 1980s Spencer lived in the Philippines, before working in India in the 1990s, holding charity concerts. He later lived in Ireland and then Germany, and still works for the Children of God (now called the Family International), mainly as a book illustrator and story writer.[8] He has always continued to play music, often just for his own amusement, but recently he has appeared at various blues and gospel conventions, and in 2006 he released a new album, Precious Little, which was recorded in Norway. The album showed a return to the blues and the slide guitar style that he became famous for whilst he was with Fleetwood Mac.
Spencer was inducted into the Rock and Roll Hall of Fame in 1998 for his work as part of Fleetwood Mac.
During the 2000s there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Peter Green and Jeremy Spencer. Whilst these two guitarists and vocalists apparently remain unconvinced of the merits of such a project,[10] Danny Kirwan (who first joined the band in 1968 as a third guitarist and vocalist) has remained as silent as ever on the subject. In April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bassist John McVie said of the reunion idea:
"If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. I know Mick would do it in a flash. Unfortunately, I don't think there's much chance of Danny doing it. Bless his heart."[11]
More recently, Spencer has been in contact with his former Fleetwood Mac bandmates Mick Fleetwood and John McVie, and according to McVie, the three had informal jam sessions with Rick Vito at Fleetwood's home.[12] Spencer also took part in the TV documentary Peter Green: Man of the World,[13] in which he was interviewed together with John McVie and Mick Fleetwood.
In 2012, Spencer released a new album, Bend in the Road, which was recorded at Tempermill Studios in Ferndale, Michigan (a suburb of Detroit). This was followed in 2014 by Coventry Blue.
Spencer occasionally teams up with Detroit area musicians for live performances. Among those are The Boa Constrictors, Brett Lucas (Bettye LaVette), Todd Glass, James Simonson, Pete Berg, Steve Allen, and Kirk Barkel.[citation needed]
Several of Spencer's children formed a band in England called JYNXT. The current band members include Nat, Koa, and Tally Spencer.
Steetley
During 2012–13, Spencer became involved with Hartlepool-based singer-songwriter Andy Oliver, and they eventually decided to record songs together. They formed a trio named Steetley, along with the Northern Irish musician and actress Janet Bamford, and in December 2013 released their debut album, The Moment She Fell.
Jimmy D. Lane *04.07.1965
Jimmy D. Lane (born July 4, 1965, Chicago, Illinois, United States) is an American electric blues guitarist.[1]Lane was born to the Chess blues musician Jimmy Rogers and his wife Dorothy. In his childhood, he got to know many older bluesmen who worked with his father, including Muddy Waters, Howlin' Wolf, Willie Mabon, Little Walter and Albert King. In 1998, Lane played for the then President Bill Clinton.
He has worked with Eric Clapton, Mick Jagger, Jim Keltner, Keith Richards, B.B. King, Van Morrison, Jonny Lang, Gary Moore, Double Trouble, Taj Mahal, Stephen Stilles, Jeff Healy, Jimmie Lee Robinson, Lowell Fulson, and Snooky Pryor, Kim Wilson, Pinetop Perkins, Johnny ‘Big Moose’ Walker, Johnnie Johnson, Kim Wilson, Robert Plant, Jimmy Page, Harry Hypolite, George ‘Wild Child’ Butler, David ‘HoneyBoy’ Edwards, Weepin’ Willie Robinson, Little Hatch, Nancy Bryan, Willie Kent, Henry Gray, Lazy Lester and Eomot RaSun. He has also worked with venerable blues greats such as Sam Lay, Hubert Sumlin, Carey Bell, Dave Meyers and his father, the legendary Jimmy Rogers.
In 1993, The Jimmy Rogers Band toured Europe, where they made a stop to perform at the BBC. In '94 they performed at the W. C. Handy Awards and in '95 they appeared on the Conan O'Brien[2] show, as well as the Chicago Blues Festival.
Jimmy made his solo recording debut in 1995. The self-titled disc on Blue Seal Records features 12 fine originals and one of his dad's tunes. In 1993, however, he would meet the people who would put his recording career into high gear. During the sessions for Bluebird for Analogue Productions, with the Jimmy Rogers Band, he met Producer John Koenig and head of Acoustic Sounds, Chad Kassem. Koenig saw the Jimmy D. Lane band at B. B. King's Club in Universal City and was floored. Koenig and Kassem got together and Jimmy recorded Long Gone for Analogue Productions in 1995, at Ocean Way Studios in Los Angeles, which was released in 1997.
His second recording, Long Gone, showcases Jimmy’s guitar virtuosity on originals like "Whiskey," "Oh What A Feeling" and the title cut. The Hendrix/Vaughn influence can be heard in his searing guitar solos but listen and you will hear his feet are firmly rooted in the blues. His versions of John Lee Hooker's "Boom Boom" and Jimmy Rogers "I'm in Love" show his deep love for, and respect of blue tradition.
Lane can stretch out on his own, but is equally at home in a support mode as can be heard by comparing his playing on Long Gone to Bluebird. Lane plays on and co-produced Hubert Sumlin's I Know You, also on Analogue Productions, where as he states "You can hear Hubert's guitar, not some guy with his amp cranked up." In fact, it was Hubert Sumlin who gave Jimmy his first Strat in 1986.
Off stage, Lane's positive outlook on life is reflected in one of his favorite phrases "It's all good." This was originally the title of his third release, but changed it to Legacy in honor of his father's memory and the rich blues heritage he grew up with. Legacy, released in May '98, features guest appearances of blues greats Sam Lay on drums, Carey Bell on harp and Sumlin on guitar. It also features the last recordings of Jimmy Rogers, who played on "One Room Country Shack" and "Another Mule Kickin' In My Stall." Jimmy is proud of all his work with his dad, but this one touches him deeply. "I take great pride in the fact that the last time my dad picked up a guitar was to help me out on my project."
Jimmy's fourth release,It's Time, could just as well have been titled It's Overdue. It's long been time for one of today's most powerful and expressive musicians to break the chains of relative commercial obscurity. Time to seize the reins of blues leadership, just as his father, Jimmy Rogers, did in the 1950s. Masters Eddie Kramer (engineer for Hendrix, Zeppelin, Woodstock etc.), Chris "Whipper" Layton and Tommy Shannon (of Double Trouble) and Mike Finnigan (organ in the bands of Etta James, Taj Mahal and CSN&Y) are all on board to give Jimmy the nudge he needs to clear the launching pad. It's Time.
In 2008, Jimmy's song "Tears Without A Shoulder" is featured in an episode of "In Plain Sight" (The Trojan Horst). In July 2012, Jimmy D. Lane made a national Canadian television appearance on Global BC Morning News. He was commissioned by Tourism Burnaby, British Columbia to host an on line Twitter video show..."Tweet The Blues"...to help promote the 2012 Burnaby Blues Festival. He has been included on his father's, Jimmy Roger's Mississippi Blues Trail Historical Landmark in Ruleville, Mississippi. Jimmy D. Lane performed two songs on the "Experience Hendrix" DVD...released in 2008. He performed with Mike McCready (of Pearl Jam), Double Trouble and Hubert Sumlin, on the project.
In April 2013, Jimmy D. Lane was inducted into the Chicago Blues Hall Of Fame.[3]
Presently, Jimmy D. Lane continues touring and performing nationally and internationally...receiving astounding reception the world over.
Musical style
Lane's music has been likened to that of Stevie Ray Vaughan, whose former band Double Trouble played with him on the 2004 album, It's Time. Other's[who?] have compared Lane's guitar work with that of Corey Stevens, Kenny Wayne Shepherd, Jonny Lang, Jimi Hendrix and Jeff Healey.
Smoky Greenwell *04.07.1951
Smoky Greenwell was born in Michigan on the 4th of July 1951, reared in Delaware, and schooled in Spain and Tennessee. Greenwell learned harmonica in earnest in the mid-1970's by sitting in with the venerable blues masters Furry Lewis, Piano Red and Mose Vincent. Greenwell's career as a first-call sessions player began at Sam Phillips' Sun Studios and led him to take up residence in Nashville in the '80's. Greenwell came to national attention in the band Blues Co-Op (with Allman Brothers guitarist Warren Haynes). It was in Nashville that Greenwell began a long association with Allman Brothers keyboardist, singer and producer Johnny Neel, a partnership that continues to this day.
Greenwell came to New Orleans in 1981 for an engagement at the now legendary (and defunct) Old Absinthe Bar and decided to stay. Since that time, he has shared stages with Snooks Eaglin, Marc Adams, Eddie Bo, "Big" Al Carson, Brint Anderson, Jumpin' Johnny Sansone, Coco Robicheaux, Willie Lockett, John Carey, Bruce "Sunpie" Barnes, Kermit Venable and BeauBassin, Kipori "Baby Wolf" Woods, Bryan Lee, Timothea, Walter "Wolfman" Washington, Jeremy Lyons, Spencer Bohren, George Porter, Jr., Waylon Thibodeaux, Rockin' Dopsie, Jr., Chubby Carrier, Blue Floyd, Mother Blues, Lenny McDaniel, Irene Sage, Tommy Malone, Tim Green, Jimmy Page, Eugene Carrier, Tom Worrell, and many others in the areas of blues, jazz, Cajun, Zydeco, funk, and country. In addition to fronting his own band, Greenwell is best known as the replacement for Lee Oskar in the seminal band WAR with Harold Brown, BB Dickerson, and Howard Scott (currently recording and touring under the name The Original Lowriders for legal reasons).
Greenwell wrote and produced a popular harmonica course in 1984. The updated version remains in demand at music stores in New Orleans, Nashville, and other cities where it is available, and on Greenwell's web site smokystore.com. Smoky's Beginning Harmonica Course has sold approximately 22, 000 copies and is used in schools as well as by individuals. Greenwell is frequently sought out by blues harmonica aficionados seeking private lessons. Greenwell spends his time in New Orleans while not on the road. He is available for session work, performances, and private lessons.
Greenwell came to New Orleans in 1981 for an engagement at the now legendary (and defunct) Old Absinthe Bar and decided to stay. Since that time, he has shared stages with Snooks Eaglin, Marc Adams, Eddie Bo, "Big" Al Carson, Brint Anderson, Jumpin' Johnny Sansone, Coco Robicheaux, Willie Lockett, John Carey, Bruce "Sunpie" Barnes, Kermit Venable and BeauBassin, Kipori "Baby Wolf" Woods, Bryan Lee, Timothea, Walter "Wolfman" Washington, Jeremy Lyons, Spencer Bohren, George Porter, Jr., Waylon Thibodeaux, Rockin' Dopsie, Jr., Chubby Carrier, Blue Floyd, Mother Blues, Lenny McDaniel, Irene Sage, Tommy Malone, Tim Green, Jimmy Page, Eugene Carrier, Tom Worrell, and many others in the areas of blues, jazz, Cajun, Zydeco, funk, and country. In addition to fronting his own band, Greenwell is best known as the replacement for Lee Oskar in the seminal band WAR with Harold Brown, BB Dickerson, and Howard Scott (currently recording and touring under the name The Original Lowriders for legal reasons).
Greenwell wrote and produced a popular harmonica course in 1984. The updated version remains in demand at music stores in New Orleans, Nashville, and other cities where it is available, and on Greenwell's web site smokystore.com. Smoky's Beginning Harmonica Course has sold approximately 22, 000 copies and is used in schools as well as by individuals. Greenwell is frequently sought out by blues harmonica aficionados seeking private lessons. Greenwell spends his time in New Orleans while not on the road. He is available for session work, performances, and private lessons.
Smoky Greenwell's Blues Jam at Old US Mint, New Orleans
https://www.youtube.com/watch?v=QnKcO5z95EA
Born 4 July 1955 in Rumburk, region Děčín
Guitar Studies
1972 - 1975 private lectures with professor Jiří Jirmal
1975 -1981 Music Schools in Prague and Teplice – lectures with professors Arnošt Sádlík, Václav Vítek and Václav Kučera
Guitar teaching in the Czech Republic
1973 - 1979 Folk School of Art (LŠU) in Rumburk and Šluknov, at the same time a teacher of music at basic school in Šluknov
1979 - 1995 OKD Praha 6
od roku 1995 private teacher of guitar
Guitar teaching in Germany
1987 - 1989 occasional lecturing at intensive guitar courses for beginners at VHS Gummersbach, Droste-Haus Verl and VHS Ritberg
1991 - 1996 Franz-Grothe Schule (town music school) in Weiden
1990 - to date occasional lecturing at intensive guitar courses for beginners as well as advanced players, workshops of classical and ragtime guitar, e.g. VHS Weiden and Freies MusikZentrum Munich
Musical Activities
1979 – 1987 member of Prague choir SMETANA
1986 - 1989 Classical guitar duo with Nikolaj Krestovský - concerts in the Czech Republic and Germany
1989 - to date Guitar duo with Adib Ghali - concerts in the Czech Republic, Austria, Germany and Poland
2003 – to date Group Njorek with Jaroslav Olin Nejezchleba (cello, singing) and Michal Müller (zither, singing)
2004 – to date Duo with Persian musician Shahab Tolouie /Iran/ (singing, guitar, Persian setar)
2004 – to date Together with Shahab Tolouie performing in the group Grupo de Peña
2005 – to date Group Arionas with Shahab Tolouie and singer of Greek origin Martha Elefteriadu
Live Performances in the Media
Television - Czech TV, Prima, Nova, TOP TV, TV 1 Schweinfurt (Germany), Televize Wroclaw
Radio - Czech Radio – Vltava, Radiožurnál, Praha, Regina, German Editor´s Office, British Editor´s Office, Evropa 2, Radio Beat, Country Radio, Bonton
Publications
1991 - "Guitar for Self-Learners " (guitar school) – editor Svojtka and Vašut
1992 - "Ragtime Guitar" (variations of some piano ragtimes of Scott Joplin and Jaroslav Ježek for two guitars) – issued together with A. Ghali at editor Svojtka and Vašut
1995 - "GUITAR – school of the guitar playing – basic lecture" - editor Svojtka & Co
1998 - "25 Melodical and Progressive Etudes, op. 60" - Matteo Carcassi (revision) – editor Allegro Prague
1999 - "Voyages of the Czech Guitar" - interview with professor Jiří Jirmal – editor Ekopress
Records
1992 - CD/MC "Ragtime Guitar and other specialties" - SV Records
1996 - CD/MC "Beatlemaniarag - Ragtime Guitar II" - Mars Records s.r.o.
2000 - CD/MC "Romantic guitar" - production and performance on CD of professor J. Jirmal
2005 - CD "Njorek" - own issue
Organisational Activities
1991 - Guitar concert for the Committee of the Good Will while Olga Havlová was present, Weiden, Germany
1991 - 1996 - Cooperation at Czech-Bavarian Cultural and Economic Days
1995 - 1997 - Organising of charity concerts at the stairs of Žižkov town hall
1998 – 2005 - Director and dramaturgist of festival GUTAR ACROSS STYLES, cooperation on festival preparation with Pavel Steidel and agency Taktika Muzika.
Gigs
Austria, Belgium, France, Germany, Italy, Poland, Slovakia
Stanislav Barek *04.07.1955
Born 4 July 1955 in Rumburk, region Děčín
Guitar Studies
1972 - 1975 private lectures with professor Jiří Jirmal
1975 -1981 Music Schools in Prague and Teplice – lectures with professors Arnošt Sádlík, Václav Vítek and Václav Kučera
Guitar teaching in the Czech Republic
1973 - 1979 Folk School of Art (LŠU) in Rumburk and Šluknov, at the same time a teacher of music at basic school in Šluknov
1979 - 1995 OKD Praha 6
od roku 1995 private teacher of guitar
Guitar teaching in Germany
1987 - 1989 occasional lecturing at intensive guitar courses for beginners at VHS Gummersbach, Droste-Haus Verl and VHS Ritberg
1991 - 1996 Franz-Grothe Schule (town music school) in Weiden
1990 - to date occasional lecturing at intensive guitar courses for beginners as well as advanced players, workshops of classical and ragtime guitar, e.g. VHS Weiden and Freies MusikZentrum Munich
Musical Activities
1979 – 1987 member of Prague choir SMETANA
1986 - 1989 Classical guitar duo with Nikolaj Krestovský - concerts in the Czech Republic and Germany
1989 - to date Guitar duo with Adib Ghali - concerts in the Czech Republic, Austria, Germany and Poland
2003 – to date Group Njorek with Jaroslav Olin Nejezchleba (cello, singing) and Michal Müller (zither, singing)
2004 – to date Duo with Persian musician Shahab Tolouie /Iran/ (singing, guitar, Persian setar)
2004 – to date Together with Shahab Tolouie performing in the group Grupo de Peña
2005 – to date Group Arionas with Shahab Tolouie and singer of Greek origin Martha Elefteriadu
Live Performances in the Media
Television - Czech TV, Prima, Nova, TOP TV, TV 1 Schweinfurt (Germany), Televize Wroclaw
Radio - Czech Radio – Vltava, Radiožurnál, Praha, Regina, German Editor´s Office, British Editor´s Office, Evropa 2, Radio Beat, Country Radio, Bonton
Publications
1991 - "Guitar for Self-Learners " (guitar school) – editor Svojtka and Vašut
1992 - "Ragtime Guitar" (variations of some piano ragtimes of Scott Joplin and Jaroslav Ježek for two guitars) – issued together with A. Ghali at editor Svojtka and Vašut
1995 - "GUITAR – school of the guitar playing – basic lecture" - editor Svojtka & Co
1998 - "25 Melodical and Progressive Etudes, op. 60" - Matteo Carcassi (revision) – editor Allegro Prague
1999 - "Voyages of the Czech Guitar" - interview with professor Jiří Jirmal – editor Ekopress
Records
1992 - CD/MC "Ragtime Guitar and other specialties" - SV Records
1996 - CD/MC "Beatlemaniarag - Ragtime Guitar II" - Mars Records s.r.o.
2000 - CD/MC "Romantic guitar" - production and performance on CD of professor J. Jirmal
2005 - CD "Njorek" - own issue
Organisational Activities
1991 - Guitar concert for the Committee of the Good Will while Olga Havlová was present, Weiden, Germany
1991 - 1996 - Cooperation at Czech-Bavarian Cultural and Economic Days
1995 - 1997 - Organising of charity concerts at the stairs of Žižkov town hall
1998 – 2005 - Director and dramaturgist of festival GUTAR ACROSS STYLES, cooperation on festival preparation with Pavel Steidel and agency Taktika Muzika.
Gigs
Austria, Belgium, France, Germany, Italy, Poland, Slovakia
Beppe Gambetta and Stanislav Barek
https://www.youtube.com/watch?v=XnkX5bFiW94#t=108
http://www.noise11.com/news/harmonica-player-chicago-bob-nelson-passes-away-at-68-20130121
"Chicago" Bob Nelson *04.07.1944
Chicago Bob Nelson: Live Torrita Blues 1996
https://www.youtube.com/watch?v=I3rMmhpvB5A
https://www.facebook.com/kennybrownguitar/photos_albums?lst=100002257761834%3A100002693180642%3A1500125872
Kenny Brown *04.07.1957
Kenny Brown was born in New Orleans, where he started to play bass at the church at the age of eight; Hestarted playing guitar, his current instrument, with 14 years and started his professional career at age 18 where his band opened a show of Tina Turner in Donaldson Ville in Louisiana - New Orleans. Guitar player and singer, with jazz influence, as well as blues and soul, Kenny is a fine example of the mix of the city..s cultural references. He has played with known artists such as The Neville Brothers, Bobby Womack, Marva Wright, Gloria Gaynor, Beau Jones, besides having taken part in Jam sessions with Guns n Roses..guitar player Slash, ans Stevie Ray Vaughan, at his performances at the 544 Club, where he performed with his cousin and music mentor, the sax player Gary Brown for 22 years. And also participated in a Jam Session with Ron Wood (Roling Stones's guitar player) . He first came o Brazil to playing with the gospel singer Tayra Darnel to the opening of the night club Bourbon Street Music Club in Sao Paulo in 1992 and felt in love with local energy. In his set list the variety and mixture of the black rithyms from his city, craddle of the afro american music. As if the guitar solos wheren..t enough, kenny Brown has a voice quite unique, strong and pleasant. He gets you into the music.The connection with the public spreads a an relaxed atmpsphere, playing classics blues and originals songs. As he defined himself, his music strolls through the blues with bits of Funk and Soul, his true roots. His talent and skill at the guitar brings on the spotlight. His laughs and way of conducting the music, his slang, everything drives on to the melting pot of bluesman and showman that Kenny is.
Kenny Brown no SESC SJC
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