1899 DeFord Bailey*
1924 Linda Hopkins*
1942 Judy Roderick*
1955 Oscar "Buddy" Woods+
1963 Dinah Washington+
1980 Ulrich Ellison*
Tracy K Mastaler*
Happy Birthday
DeFord Bailey *14.12.1899
DeFord Bailey (* 14. Dezember 1899 in Carthage im Smith County in Tennessee; † 2. Juli 1982 in Nashville in Tennessee) war ein schwarzer, US-amerikanischer Old-Time-Musiker.
Inhaltsverzeichnis
Leben
DeFord Bailey wurde 1899 in Carthage im US-Bundesstaat Tennessee geboren. Durch eine Lähmungserkrankung im Kindesalter litt er an Kleinwüchsigkeit. Von seinem Vater und seinem Onkel erlernte er die Instrumente Banjo, Gitarre und Mundharmonika. 1925 entdeckte ihn der Mundharmonikaspieler Dr. Humphrey Bate und brachte ihn an die Grand Ole Opry in Nashville. Dort wurde er, obwohl Afroamerikaner, als "harmonica wizard", als "Hexenmeister der Harmonika" gefeiert. Besonders berühmt war sein "Pan America Blues", bei dem er mit der Mundharmonika eine Lokomotive nachahmte. 1927 und 1928 nahm er einige Platten auf.
Im Jahr 1941 kam die Kündigung von der Grand Ole Opry. Der offizielle Opry-Standpunkt lautet, dass der Musiker aufgrund seiner Faulheit entlassen wurde. Angeblich weigerte er sich, neue Stücke in sein Repertoire aufzunehmen. Laut DeFord Bailey und seinen Anhängern waren aber rassistische Gründe - er wurde in seinen späteren Jahren nur noch als Maskottchen angekündigt und seine Auftrittszeit wurde immer mehr verkürzt - sowie DeFords finanzielle Forderungen - er verdiente pro Auftritt nur fünf Dollar - für die Kündigungen verantwortlich. Nach seiner Entlassung aus der Grand Ole Opry schlug sich DeFord Bailey als Schuhputzer in Nashville durch. Nur noch bei wenigen Gelegenheiten, etwa wenn es ein Special von Countrystars aus den frühen Tagen dieser Musik in der Grand Ole Opry gab, trat er öffentlich auf. DeFord Bailey starb am 2. Juli 1982 in Nashville. Zu seinem Begräbnis erschienen viele alte Countrystars, etwa Roy Acuff oder Bill Monroe. DeFord Bailey gilt als Wegbereiter schwarzer Countrymusiker wie Charley Pride, Stoney Edwards und O.B. McClinton. Bill Monroe, der Vater der Bluegrass-Musik zählte DeFord Bailey stets zu seinen großen Vorbildern.
Pan American Blues wurde 2007 in die Grammy Hall of Fame aufgenommen. 2005 ist Bailey in die Country Music Hall of Fame aufgenommen worden.
DeFord Bailey (December 14, 1899 – July 2, 1982) was an American country music and blues star from the 1920s until 1941. Bailey was both the first performer to be introduced as playing on the Grand Ole Opry and also the first African-American performer on the show. He played several instruments but is best known for his harmonica tunes.
Career
A grandson of slaves,[3] Bailey was born near the Bellwood community in Smith County, Tennessee,[4][5] and learned to play the harmonica at the age of three[3][5] when he contracted polio (or as it was called at the time 'infantile paralysis').[5] During his year-long confinement to bed he developed his distinctive style of playing.[6] In 1918, he moved to Nashville performing locally as an amateur. His first documented radio appearance was June 19, 1926 on WSM in Nashville. On December 10, 1927, he premiered his trademark number, "Pan American Blues" (named for the Louisville and Nashville Railroad's Pan-American) on a show then known as the "WSM Barn Dance". At that time "Barn Dance" aired after NBC's classical music show, the "Music Appreciation Hour". While introducing Bailey, WSM station manager and announcer George D. Hay exclaimed on-air: “For the past hour, we have been listening to music largely from Grand Opera, but from now on, we will present ‘The Grand Ole Opry.’”[4]
Bailey also had several records issued in 1927-1928, all of them harmonica solos. In 1927 he recorded for Brunswick records in New York City,[7][8] while in 1928 he recorded eight sides[2] for Victor in Nashville,[7][8] of which three were issued on several labels, including Victor, Bluebird and RCA. Emblematic of the ambiguity of Bailey's position as a recording artist is the fact his arguably greatest recording, John Henry, was released separately in both RCA's 'race' and 'hillbilly' series.[9]
Bailey was a pioneer member of the WSM Grand Ole Opry, and one of its most popular performers, appearing on the program from 1927 to 1941.[10] During this period he toured with many major country stars, including Uncle Dave Macon, Bill Monroe, and Roy Acuff.[11] Like other black stars of his day traveling in the South and West, he faced many difficulties in finding food and accommodation because of the discriminatory Jim Crow laws.[12]
Bailey was fired by WSM in 1941 because of a licensing conflict with BMI-ASCAP, which prevented him from playing his best known tunes on the radio.[13] This effectively ended his performance career, and he spent the rest of his life shining shoes and renting out rooms in his home to make a living. Though he continued to play the harp, he almost never performed publicly. One of his rare appearances occurred in 1974, when he agreed to make one more appearance on the Opry. This became the occasion for the Opry's first annual Old Timers' Show.[4] He died on July 2, 1982 in Nashville. [2][14] and is buried in Greenwood Cemetery there.[15]
In 2005, Nashville Public Television produced the documentary DeFord Bailey: A Legend Lost.[16] The documentary was broadcast nationally through PBS. Later that year, Bailey was inducted into the Country Music Hall of Fame on November 15, 2005. Joining him in the 2005 class were country-pop superstar Glen Campbell and the band Alabama.[10] On June 27, 2007, the DeFord Bailey Tribute Garden was dedicated at the George Washington Carver Food Park in Nashville.[17] The Encyclopedia of Country Music called him "the most significant black country star before World War II."
Career
A grandson of slaves,[3] Bailey was born near the Bellwood community in Smith County, Tennessee,[4][5] and learned to play the harmonica at the age of three[3][5] when he contracted polio (or as it was called at the time 'infantile paralysis').[5] During his year-long confinement to bed he developed his distinctive style of playing.[6] In 1918, he moved to Nashville performing locally as an amateur. His first documented radio appearance was June 19, 1926 on WSM in Nashville. On December 10, 1927, he premiered his trademark number, "Pan American Blues" (named for the Louisville and Nashville Railroad's Pan-American) on a show then known as the "WSM Barn Dance". At that time "Barn Dance" aired after NBC's classical music show, the "Music Appreciation Hour". While introducing Bailey, WSM station manager and announcer George D. Hay exclaimed on-air: “For the past hour, we have been listening to music largely from Grand Opera, but from now on, we will present ‘The Grand Ole Opry.’”[4]
Bailey also had several records issued in 1927-1928, all of them harmonica solos. In 1927 he recorded for Brunswick records in New York City,[7][8] while in 1928 he recorded eight sides[2] for Victor in Nashville,[7][8] of which three were issued on several labels, including Victor, Bluebird and RCA. Emblematic of the ambiguity of Bailey's position as a recording artist is the fact his arguably greatest recording, John Henry, was released separately in both RCA's 'race' and 'hillbilly' series.[9]
Bailey was a pioneer member of the WSM Grand Ole Opry, and one of its most popular performers, appearing on the program from 1927 to 1941.[10] During this period he toured with many major country stars, including Uncle Dave Macon, Bill Monroe, and Roy Acuff.[11] Like other black stars of his day traveling in the South and West, he faced many difficulties in finding food and accommodation because of the discriminatory Jim Crow laws.[12]
Bailey was fired by WSM in 1941 because of a licensing conflict with BMI-ASCAP, which prevented him from playing his best known tunes on the radio.[13] This effectively ended his performance career, and he spent the rest of his life shining shoes and renting out rooms in his home to make a living. Though he continued to play the harp, he almost never performed publicly. One of his rare appearances occurred in 1974, when he agreed to make one more appearance on the Opry. This became the occasion for the Opry's first annual Old Timers' Show.[4] He died on July 2, 1982 in Nashville. [2][14] and is buried in Greenwood Cemetery there.[15]
In 2005, Nashville Public Television produced the documentary DeFord Bailey: A Legend Lost.[16] The documentary was broadcast nationally through PBS. Later that year, Bailey was inducted into the Country Music Hall of Fame on November 15, 2005. Joining him in the 2005 class were country-pop superstar Glen Campbell and the band Alabama.[10] On June 27, 2007, the DeFord Bailey Tribute Garden was dedicated at the George Washington Carver Food Park in Nashville.[17] The Encyclopedia of Country Music called him "the most significant black country star before World War II."
Linda Hopkins *14.12.1924
Linda Hopkins (* 14. Dezember 1924 in New Orleans, Louisiana, USA) ist eine US-amerikanische Blues- und Gospel-Sängerin. Linda Hopkins wurde als Elfjährige von Mahalia Jackson entdeckt und bereits zu Lebzeiten zur Legende. Sie war der Star vieler musikalischer Revuen; in den 1990er Jahren tourte sie mit Maxine Weldon in der Show Wild Women Blues.
Linda Hopkins (born December 14, 1924)[2] is an African American actress and blues and gospel singer. She has recorded classic, traditional, and urban blues, and performed R&B and soul, jazz, and show tunes, all with distinction and style since the 1950s.[1]
Biography
Born Melinda Helen Matthews in New Orleans, Louisiana, United States,[2] the second child of the Reverend Fred Matthews, Sr. and Hazel Smith, Hopkins grew up in the section of New Orleans known by the locals as "Zion City". She went to school in "Gert Town" which bordered the Xavier University of Louisiana.
Known as "Lil Helen Matthews" as a child, she was discovered at the age of eleven by Mahalia Jackson when she persuaded Jackson to perform at a fundraiser at her home church, St. Mark's Baptist Church. Lil Helen opened the children's fundraising program with a rendition of Jackson's gospel hit, "God Shall Wipe Your Tears Away". Jackson was reportedly so impressed by Helen's determination and talent that she arranged for the young girl to join the Southern Harp Spiritual Singers in 1936. Hopkins remained with the group for a decade.
She first saw Bessie Smith perform Empty Bed Blues at The New Orleans Palace Theatre in 1936. Hopkins greatly admired Smith and later won critical plaudits for her rendition of Smith in the 1959 theatrical presentation Jazz Train.[1] Matthews left New Orleans in the 1950s, and, in 1951, began performing at Slim Jenkin's Night Club in the Oakland/Richmond area. There she met Johnny Otis and Little Esther Phillips who created her stage name, Linda Hopkins.[2] In 1952, Hopkins toured Hawaii and Japan for two years which included a stint with Louis Armstrong at The Brown Derby in Honolulu. She recorded for the Crystalette, Forecast, Federal and Atco labels and often appeared at the Apollo Theatre in Harlem.[2]
In 1960, Hopkins first toured Europe in the Broadway Express, the restaged production of Jazz Train. She recorded "Shake a Hand" with Jackie Wilson on the Brunswick label, which is her sole hit single reaching #21 on the US Billboard R&B chart.[1] She also attended Stella Adler's Acting School in New York City.[2]
During the 1970s, Hopkins performed in the Broadway musical, Purlie, and with Sammy Davis, Jr. for nine months. In addition, she performed at President Jimmy Carter's inaugural ball. In 1972 she was awarded a Tony and Drama Desk Award for her performance in Inner City.[2]
Hopkins starred in Me and Bessie, a one-woman show paying homage to blues singer Bessie Smith, conceived and written by Hopkins and Will Holt. The world premiere was in Washington, D.C. in 1974. After a run in Los Angeles it transferred to the Ambassador Theatre on Broadway. The critically acclaimed show ran for thirteen months and 453 performances, and Hopkins was nominated for the Drama Desk Award for Unique Theatrical Experience.[2]
In 1985, Black and Blue, written by Claudio Segovia and Hector Orezzoli, premiered in Paris at the Théâtre Musical Paris. The musical revue opened on Broadway in 1989 and ran for 829 performances. Hopkins received a Tony Award nomination for Best Performance by an Actress in a Musical. Wild Women Blues, conceived by Hopkins and produced by Mel Howard, premiered in Berlin in 1997. In 1998 Hopkins celebrated 50 years in show business.
In 2005, Motherin' The Blues: Linda Hopkins - The Continuing Legacy of The Blues Woman, researched and written by Erany Barrow-Pryor, Ph.D. through the Department of English at UCLA, was published.[3]
In October 2005, Hopkins received a star on the Hollywood Walk of Fame.
Biography
Born Melinda Helen Matthews in New Orleans, Louisiana, United States,[2] the second child of the Reverend Fred Matthews, Sr. and Hazel Smith, Hopkins grew up in the section of New Orleans known by the locals as "Zion City". She went to school in "Gert Town" which bordered the Xavier University of Louisiana.
Known as "Lil Helen Matthews" as a child, she was discovered at the age of eleven by Mahalia Jackson when she persuaded Jackson to perform at a fundraiser at her home church, St. Mark's Baptist Church. Lil Helen opened the children's fundraising program with a rendition of Jackson's gospel hit, "God Shall Wipe Your Tears Away". Jackson was reportedly so impressed by Helen's determination and talent that she arranged for the young girl to join the Southern Harp Spiritual Singers in 1936. Hopkins remained with the group for a decade.
She first saw Bessie Smith perform Empty Bed Blues at The New Orleans Palace Theatre in 1936. Hopkins greatly admired Smith and later won critical plaudits for her rendition of Smith in the 1959 theatrical presentation Jazz Train.[1] Matthews left New Orleans in the 1950s, and, in 1951, began performing at Slim Jenkin's Night Club in the Oakland/Richmond area. There she met Johnny Otis and Little Esther Phillips who created her stage name, Linda Hopkins.[2] In 1952, Hopkins toured Hawaii and Japan for two years which included a stint with Louis Armstrong at The Brown Derby in Honolulu. She recorded for the Crystalette, Forecast, Federal and Atco labels and often appeared at the Apollo Theatre in Harlem.[2]
In 1960, Hopkins first toured Europe in the Broadway Express, the restaged production of Jazz Train. She recorded "Shake a Hand" with Jackie Wilson on the Brunswick label, which is her sole hit single reaching #21 on the US Billboard R&B chart.[1] She also attended Stella Adler's Acting School in New York City.[2]
During the 1970s, Hopkins performed in the Broadway musical, Purlie, and with Sammy Davis, Jr. for nine months. In addition, she performed at President Jimmy Carter's inaugural ball. In 1972 she was awarded a Tony and Drama Desk Award for her performance in Inner City.[2]
Hopkins starred in Me and Bessie, a one-woman show paying homage to blues singer Bessie Smith, conceived and written by Hopkins and Will Holt. The world premiere was in Washington, D.C. in 1974. After a run in Los Angeles it transferred to the Ambassador Theatre on Broadway. The critically acclaimed show ran for thirteen months and 453 performances, and Hopkins was nominated for the Drama Desk Award for Unique Theatrical Experience.[2]
In 1985, Black and Blue, written by Claudio Segovia and Hector Orezzoli, premiered in Paris at the Théâtre Musical Paris. The musical revue opened on Broadway in 1989 and ran for 829 performances. Hopkins received a Tony Award nomination for Best Performance by an Actress in a Musical. Wild Women Blues, conceived by Hopkins and produced by Mel Howard, premiered in Berlin in 1997. In 1998 Hopkins celebrated 50 years in show business.
In 2005, Motherin' The Blues: Linda Hopkins - The Continuing Legacy of The Blues Woman, researched and written by Erany Barrow-Pryor, Ph.D. through the Department of English at UCLA, was published.[3]
In October 2005, Hopkins received a star on the Hollywood Walk of Fame.
Tracy K Mastaler (Tracy K) *14.12.
In a business where safety nets are non existent and successful female harmonica players are a rarity, you have to admire the plucky and positive spirit of Tracy K. She’s a terrific entertainer with a committed sense of purpose. Through shear determination and talent she has indelibly stamped her versatility on the Canadian blues/roots scene with her singing, songwriting, and playing that little tin biscuit which has become her trademark asset. She’s a gifted award-winning writer whose broad catalogue includes songs for a Hollywood movie, for CBC's "Canada Reads, Ontario Rocks", and themed originals for festival workshops.
Tracy K immerses herself into the audience at every live show, with fiery passion and an engaging energy that sets her apart as a performer. She’s shared stages with today's 'A-list' international blues performers and hires first rate players who give her music the professional edge. Among her personal reinventions is her contemporary blues band, wherein Tracy K kicks it up a notch with amplified harp and tests the limits of her throaty rasp inspired by vocal benchmarks Bonnie Raitt and Koko Taylor. Her acoustic Blues Duo with partner Jamie “Snakeman” Steinhoff reflects some of Tracy's fondest musical influences. Jamie's mastery on acoustic, dobro and lap steel guitars derives from his well-informed history of early blues and folk. 'Snakeman's Canned Heat Salsa' and 'Tracy K's Stolen Apple Jelly' sold at their shows create the homey vibe that you'd find at Chicago's legendary Maxwell Street Market back in the day. With their five-star rated album "Canned Heat" they tour house concerts and soft seaters, and have opened for Ramblin' Jack Elliot and shared a double bill with John Sebastian. Tracy K’s rarer forays into jazz range from single guitar accompaniment to a Billie Holiday tribute given the most lavish treatment with the Thunder Bay Symphony Orchestra.
Tracy K has always been sought out for her harmonizing skills over the years for live work and sessions, recently recording harmonies on a project at Ardent Studios in Memphis in early 2015. In the late 1980s Tracy K worked as a live and session vocalist in Toronto. Years later she would be included to perform at the Toronto Blues Society's Harmonica Workshop and their prestigious Women's Blues Revue. Tracy K's gig history lists blues, jazz and folk festivals, concerts, various tributes, fundraisers and women-in-blues events. Her touring map spans Canada into North Dakota, Minnesota, and Montana to Tennessee and Mississippi, and as far south as the Caribbean. Tracy K has been booked multiple times by many events including the Winnipeg Jazz Fest, Saskatchewan Mid-Winter Blues Fest, Live from the Rock Fest, Red Rock, Ontario (headlining in 2014), Thunder Bay Blues Fest, Greatwoods Music Fest in Manitoba and the Winnipeg BBQ & Bluesfest. She’s opened for blues legend James Cotton and shared a playbill (and photo) with Koko Taylor.
Tracy K was unknown to locals at the inaugural Thunder Bay Blues Festival. An instant hit with her crowd-pleasing manner she was back for an encore in 2003. She moved to Thunder Bay in 2004 positively impacting the local music community over the coming years. She created and hosted a weekly Sunday Night Blues Jam at the local Legion where she was dubbed by fans as 'Tracy K Jr.' whenever she sat in on drums! Twice she won regional competitions to represent Thunder Bay at the International Blues Challenge in Memphis Tennessee, as a band and then as a duo. In 2015 Tracy returned to Memphis as one of the judges. 2014 also saw Tracy K included by invite on Ruf Records 'Harmonica Ladies' compilation album and on the globally popular Mary4Music's "Keeping the Blues Alive: Volume Six". She has now moved back to Manitoba and it’s renown music scene where she is recording her next release. Not bad for a musician doubling as mom to three kids - now an empty nester, time has come for this undeniable musician to soar herself.
AWARDS
International Blues Challenge Regional Winner/Memphis Participant - Thunder Bay 2013 band & 2014 duo
International Songwriting Competition Award Recipient BLUES and PERFORMANCE
Ontario Independent Music Award BEST BLUES SONG
Toronto Blues Society Talent Search First Runner Up
Winnipeg Blues.com HARMONICA PLAYER of the Year
Winnipeg Blues.com FEMALE VOCALIST of the Year
Nominee for Winnipeg Blues.com ELECTRIC ACT of the Year
Tracy K immerses herself into the audience at every live show, with fiery passion and an engaging energy that sets her apart as a performer. She’s shared stages with today's 'A-list' international blues performers and hires first rate players who give her music the professional edge. Among her personal reinventions is her contemporary blues band, wherein Tracy K kicks it up a notch with amplified harp and tests the limits of her throaty rasp inspired by vocal benchmarks Bonnie Raitt and Koko Taylor. Her acoustic Blues Duo with partner Jamie “Snakeman” Steinhoff reflects some of Tracy's fondest musical influences. Jamie's mastery on acoustic, dobro and lap steel guitars derives from his well-informed history of early blues and folk. 'Snakeman's Canned Heat Salsa' and 'Tracy K's Stolen Apple Jelly' sold at their shows create the homey vibe that you'd find at Chicago's legendary Maxwell Street Market back in the day. With their five-star rated album "Canned Heat" they tour house concerts and soft seaters, and have opened for Ramblin' Jack Elliot and shared a double bill with John Sebastian. Tracy K’s rarer forays into jazz range from single guitar accompaniment to a Billie Holiday tribute given the most lavish treatment with the Thunder Bay Symphony Orchestra.
Tracy K has always been sought out for her harmonizing skills over the years for live work and sessions, recently recording harmonies on a project at Ardent Studios in Memphis in early 2015. In the late 1980s Tracy K worked as a live and session vocalist in Toronto. Years later she would be included to perform at the Toronto Blues Society's Harmonica Workshop and their prestigious Women's Blues Revue. Tracy K's gig history lists blues, jazz and folk festivals, concerts, various tributes, fundraisers and women-in-blues events. Her touring map spans Canada into North Dakota, Minnesota, and Montana to Tennessee and Mississippi, and as far south as the Caribbean. Tracy K has been booked multiple times by many events including the Winnipeg Jazz Fest, Saskatchewan Mid-Winter Blues Fest, Live from the Rock Fest, Red Rock, Ontario (headlining in 2014), Thunder Bay Blues Fest, Greatwoods Music Fest in Manitoba and the Winnipeg BBQ & Bluesfest. She’s opened for blues legend James Cotton and shared a playbill (and photo) with Koko Taylor.
Tracy K was unknown to locals at the inaugural Thunder Bay Blues Festival. An instant hit with her crowd-pleasing manner she was back for an encore in 2003. She moved to Thunder Bay in 2004 positively impacting the local music community over the coming years. She created and hosted a weekly Sunday Night Blues Jam at the local Legion where she was dubbed by fans as 'Tracy K Jr.' whenever she sat in on drums! Twice she won regional competitions to represent Thunder Bay at the International Blues Challenge in Memphis Tennessee, as a band and then as a duo. In 2015 Tracy returned to Memphis as one of the judges. 2014 also saw Tracy K included by invite on Ruf Records 'Harmonica Ladies' compilation album and on the globally popular Mary4Music's "Keeping the Blues Alive: Volume Six". She has now moved back to Manitoba and it’s renown music scene where she is recording her next release. Not bad for a musician doubling as mom to three kids - now an empty nester, time has come for this undeniable musician to soar herself.
AWARDS
International Blues Challenge Regional Winner/Memphis Participant - Thunder Bay 2013 band & 2014 duo
International Songwriting Competition Award Recipient BLUES and PERFORMANCE
Ontario Independent Music Award BEST BLUES SONG
Toronto Blues Society Talent Search First Runner Up
Winnipeg Blues.com HARMONICA PLAYER of the Year
Winnipeg Blues.com FEMALE VOCALIST of the Year
Nominee for Winnipeg Blues.com ELECTRIC ACT of the Year
Tracy K and Jamie Steinhoff"Diddy Wah So"
Ulrich Ellison *14.12.1980
Für E-Gitarren Fans nicht nur ein Leckerbissen, sondern ein Pflichttermin !
Austin, Texas ist bekannt als ein Mekka für Gitarristen in Sachen Blues und Rock.
Seit acht Jahren mischt mit Ulrich Ellison auch ein Europäer dort kräftig mit.
Geboren in Graz, wuchs er mit der Musik der Eighties wie Mike Oldfield, Peter Gabriel oder The Police auf, doch die Plattensammlung seiner Eltern enthielt auch Miles Davis, Django Reinhard und Booker T.
Ein Musikstudium brachte ihn nach Wien, wo er bald von den Granden der Wiener Studioszene entdeckt wurde. Bereits mit 23 Jahren spielt er für zahlreiche Stars des Austropop.
Aber die Wiener Pop-/Rockszene war erst der Anfang: Nach abgeschlossenem Jazzstudium ergatterte Ellison ein US Scholarship. 2007 folgt der Sprung in die amerikanische Szene.
Inzwischen konnte er dort drei der begehrten Downbeat-Jazzpreise abräumen und zählt zu Austin´s bekanntesten Musikern.
Gerade erst (19.03.2015) wurde er beim Austin Music Award als “Best Blues/Funk/Soul Band" gekrönt !
200+ Konzerte im Jahr, Fernseh- und Festivalauftritte zählen mittlerweile zum Alltag.
Jetzt ist der Gitarrist auf seiner zweiten Europatournee und stellt sein neues Album „Dreamchaser” vor, das deutlich rockiger und blueslastiger als die bisherigen Releases ausgefallen ist.
Der Musiker beeindruckt sein Publikum mühelos und kontinuierlich mit einem Gitarrenstil, der leicht mit den Besten in der Welt konkurrieren kann. Die Vielfalt von verschiedenen Stilen wie Blues Rock, Jam und Jazz, seine Stimme und sein Gitarrenspiel hinterlassen einen dauerhaften Eindruck.
Ulrich Ellison (born December 14, 1980) is an American singer, songwriter, guitarist and Music Producer from Austin, Texas.[1][2][3] He is the founder of the group “Ulrich Ellison and Tribe” , which won the 2015 Austin Music Award for “Best Funk/Soul/Blues” live band.[4][5]
Life and career
Ellison was born and raised in Graz, Austria. He originally started on classical piano and got admitted to the Johann Josef Fux Konservatorium. His career as a guitarist started after moving to Vienna where he studied music at the University of Music and Performing Arts, Vienna, while playing for several Austrian pop and rock acts. In 2007 Ellison came to the United States on a Fulbright scholarship and studied jazz guitar at the Sarah and Ernest Butler School of Music at the University of Texas at Austin. In his two years as a US student he won three of the International Downbeat Awards in the category “Blues/Rock/Pop soloist, college winner”. After graduation he became sideman for several notable Austin acts, including soul singer Nakia and Grammy-nominated singer Abra Moore. In 2010 he founded the “Ulrich Ellison Trio” and has since then progressed his sound in several formations and different lineups.[3][6][7][8][9][10]
Awards and recognition
2008 Downbeat Student Award, Winner, “Blues/Rock/Pop Soloist”[11]
2009 Downbeat Student Award, listed for Outstanding Performance, “Blues/Rock/Pop
Soloist”[11][12]
2010 Downbeat Award, “Blues/Rock/Pop Soloist”, outstanding performance[11][not in
citation given]
2014 Austin Music Award, “Best Funk/Soul/Blues” live band
https://en.wikipedia.org/wiki/Ulrich_Ellison
Ullrich Ellison & Tribe: Live in Switzerland - FULL CONCERT
SETLIST: (scroll down or click "show more" to see full list):
00:05 MACHETE
05:55 SLEEPLESS
12:15 CHANGE OF ONE MAN
17:32 I’LL BE ON MY WAY
25:00 THE TRAVELLER
32:30 RESCUE ME
37:27 ROLLIN + TUMBLIN
43:06 FEET BACK ON THE GROUND
47:18 RIVER OF LIFE
50:50 LITTLE WING
01:00:54 WAY DOWN ON THE GROUND
01:06:08 WAITING FOR A BETTER DAY
01:14:00 OUTTAKES - BONUS…
The concert took place April 22, 2016 at the NOIZZPRODUCTIONZZ Studios in Biel-Benken. Presented by RONS ROCKPALAST.
ULRICH ELLISON & TRIBE are:
ULRICH ELLISON - SABINE ELLISON - JOEL DUHON
check out here: http://ulrichellison.com
00:05 MACHETE
05:55 SLEEPLESS
12:15 CHANGE OF ONE MAN
17:32 I’LL BE ON MY WAY
25:00 THE TRAVELLER
32:30 RESCUE ME
37:27 ROLLIN + TUMBLIN
43:06 FEET BACK ON THE GROUND
47:18 RIVER OF LIFE
50:50 LITTLE WING
01:00:54 WAY DOWN ON THE GROUND
01:06:08 WAITING FOR A BETTER DAY
01:14:00 OUTTAKES - BONUS…
The concert took place April 22, 2016 at the NOIZZPRODUCTIONZZ Studios in Biel-Benken. Presented by RONS ROCKPALAST.
ULRICH ELLISON & TRIBE are:
ULRICH ELLISON - SABINE ELLISON - JOEL DUHON
check out here: http://ulrichellison.com
Ulrich Ellison Trio - Driftin Blues
Ulrich Ellison - vocals, guitar
Brady Muckelroy - bass
David Sierra - drums
Brady Muckelroy - bass
David Sierra - drums
R.I.P.
Dinah Washington +14.12.1963
Dinah Washington (* 29. August 1924 in Tuscaloosa, Alabama; † 14. Dezember 1963 in Detroit, Michigan; eigentlich Ruth Lee Jones) war eine US-amerikanische Sängerin des Swingjazz, Rhythm and Blues und der Popmusik.
Ihre Familie zog, als sie drei Jahre alt war, nach Chicago. Sie sang schon früh im Kirchenchor und wurde Mitglied in Salle Martin's Gospel Choir, der in der Umgebung von Chicago tourte. Als sie 15 Jahre alt war, gewann sie einen Amateurwettbewerb, der ihre Profikarriere einleitete. Ihre Aktivitäten teilten sich aber zunächst auf: Einerseits leitete sie den Kirchenchor, andererseits spielte sie Klavier in Clubs. Mit 18 Jahren wechselte sie vom Gospel zum Jazz.
1942 spielte sie in der Garrick Stage Bar, wo sie Joe Glaser hörte. Dieser empfahl sie an Lionel Hampton. Von 1943 bis 1946 sang sie in seiner Band; er veranlasste auch, dass sie ihren Namen in Dinah Washington änderte. Ihren ersten Hit hatte sie 1943 mit Evil Gal Blues, den Leonard Feather für sie schrieb und arrangierte. Begleitet wurde sie von Mitgliedern der Hampton-Band. Das Stück erschien bei dem kurzlebigen Label Keynote Records. In dieser Phase wurde ihr Gesang immer jazziger, wie auch Aufnahmen mit Lucky Thompson aus dem Jahr 1945 belegen.
Nach dem Ende des Keynote-Labels wechselte sie zu Mercury Records bzw. dessen Schwester-Label EmArcy. 1947 nahm sie ihre ersten R&B-Platten auf. Ihren ersten Hit in den Billboard-Charts hatte sie im Juni 1950 mit dem damals populären Johnny Green-Song I Wanna Be Loved (#22). Der nächste Erfolg gelang ihr im Dezember 1954 mit dem Song Teach Me Tonight von Gene De Paul und Sammy Cahn(#23).
1955 nahm sie ein Album mit dem Orchester von Quincy Jones auf (The Swingin' Miss D). 1957 trat sie beim Newport Jazz Festival auf. Ähnlich wie auch Ella Fitzgerald ließen ihre Produzenten sie auch Songbook-Alben aufnehmen; 1957 entstand das Fats Waller Songbook, 1958 nahm sie Songs von Bessie Smith auf. Ihren Durchbruch erlebte sie 1959 mit What a Diff'rence a Day Makes, der ihr bekanntester Titel werden sollte (Grammy Beste R&B-Darbietung). Ähnlich wie bei Nat King Cole oder bei Ray Charles veränderte sich ihr Songmaterial durch die Arrangements mehr zum künstlerischen Mainstream und zur populären Musik. So konzentrierte sie sich auf Balladen wie Unforgettable (1959) mit Streicherbegleitung. 1962 wechselte sie zu Roulette Records, wo sie bei ihren Platteneinspielungen von Studioorchestern begleitet wurde, jedoch das künstlerische Niveau der Mercury-Aufnahmen nicht halten konnte. Kurz vor ihrem Tod entstanden noch beachtliche Live-Aufnahmen von drei Radio-Mitschnitten aus dem Birdland-Club, bei denen sie unter anderem von Joe Zawinul begleitet wurde. Sie starb am 14. Dezember 1963 mit 39 Jahren an einer Überdosis aus Schlaftabletten und Alkohol.
Dinah Washington wurde 2003 in die Blues Hall of Fame aufgenommen. Drei ihrer Songs wurden bisher in die Grammy Hall of Fame aufgenommen: What a Diff'rence a Day Makes (1998), Teach Me Tonight (1999) und Unforgettable (2001).[1] Bekannt war sie als die Queen of Blues. In ihrem Gesang vereinte sie die Härte des Gospel-Shouting mit der Zärtlichkeit der gekonnt phrasierenden, kultivierten Balladensängerin. Sie beeinflusste mit ihrem Gesangsstil viele nachfolgende Künstler wie Nancy Wilson oder Diane Schuur.
Dinah Washington hatte ein turbulentes Privatleben und war sieben Mal verheiratet, unter anderem 1957 bis 1959 mit dem R&B-Saxophonisten Eddie Chamblee, der auch bei ihren Plattenaufnahmen dieser Zeit mitwirkte, und 1961 bis 1962 mit dem zwölf Jahre jüngeren Schauspieler Rafael Campos. Ihr letzter Ehemann war der American-Football-Profi Dick Lane, der sie auch leblos vorfand. Die Autopsie ergab eine letale Dosis von Secobarbital und Amobarbital.
Dinah Washington, born Ruth Lee Jones (August 29, 1924 – December 14, 1963), was an American singer and pianist, who has been cited as "the most popular black female recording artist of the '50s".[1] Primarily a jazz vocalist, she performed and recorded in a wide variety of styles including blues, R&B, and traditional pop music,[1] and gave herself the title of "Queen of the Blues".[2] She is a 1986 inductee of the Alabama Jazz Hall of Fame,[3] and was inducted into the Rock and Roll Hall of Fame in 1993.
Career
Ruth Lee Jones was born in Tuscaloosa, Alabama, and moved to Chicago as a child. She became deeply involved in gospel and played piano for the choir in St. Luke's Baptist Church while still in elementary school. She sang gospel music in church and played piano, directing her church choir in her teens and being a member of the Sallie Martin Gospel Singers. She sang lead with the first female gospel singers formed by Ms. Martin, who was co-founder of the Gospel Singers Convention. Her involvement with the gospel choir occurred after she won an amateur contest at Chicago's Regal Theater where she sang "I Can't Face the Music".[4]
After winning a talent contest at the age of 15, she began performing in clubs. By 1941-42 she was performing in such Chicago clubs as Dave's Rhumboogie and the Downbeat Room of the Sherman Hotel (with Fats Waller). She was playing at the Three Deuces, a jazz club, when a friend took her to hear Billie Holiday at the Garrick Stage Bar. Club owner Joe Sherman was so impressed with her singing of "I Understand", backed by the Cats and the Fiddle, who were appearing in the Garrick's upstairs room, that he hired her. During her year at the Garrick - she sang upstairs while Holiday performed in the downstairs room - she acquired the name by which she became known. She credited Joe Sherman with suggesting the change from Ruth Jones, made before Lionel Hampton came to hear Dinah at the Garrick.[5] Hampton's visit brought an offer, and Washington worked as his female band vocalist after she had sung with the band for its opening at the Chicago Regal Theatre.
She made her recording debut for the Keynote label that December with "Evil Gal Blues", written by Leonard Feather and backed by Hampton and musicians from his band, including Joe Morris (trumpet) and Milt Buckner (piano).[1][6][7] Both that record and its follow-up, "Salty Papa Blues", made Billboard's "Harlem Hit Parade" in 1944.[8]
She stayed with Hampton's band until 1946 and, after the Keynote label folded, signed for Mercury Records as a solo singer. Her first record for Mercury, a version of Fats Waller's "Ain't Misbehavin'", was another hit, starting a long string of success. Between 1948 and 1955, she had 27 R&B top ten hits, making her one of the most popular and successful singers of the period. Both "Am I Asking Too Much" (1948) and "Baby Get Lost" (1949) reached Number 1 on the R&B chart, and her version of "I Wanna Be Loved" (1950) crossed over to reach Number 22 on the US pop chart.[8] Her hit recordings included blues, standards, novelties, pop covers, and even a version of Hank Williams' "Cold, Cold Heart" (R&B Number 3, 1951). At the same time as her biggest popular success, she also recorded sessions with many leading jazz musicians, including Clifford Brown and Clark Terry on the album Dinah Jams (1954), and also recorded with Cannonball Adderley and Ben Webster.[1][7]
In 1959, she had her first top ten pop hit, with a version of "What a Diff'rence a Day Made",[9] which made Number 4 on the US pop chart. Her band at that time included arranger Belford Hendricks, with Kenny Burrell (guitar), Joe Zawinul (piano), and Panama Francis (drums). She followed it up with a version of Irving Gordon's "Unforgettable", and then two highly successful duets in 1960 with Brook Benton, "Baby (You've Got What It Takes)" (No. 5 Pop, No. 1 R&B) and "A Rockin' Good Way (To Mess Around and Fall in Love)" (No. 7 Pop, No. 1 R&B). Her last big hit was "September in the Rain" in 1961 (No. 23 Pop, No. 5 R&B).[8]
According to Richard S. Ginell at Allmusic:[1]
"[Washington] was at once one of the most beloved and controversial singers of the mid-20th century - beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop - and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing..."
Washington was well known for singing torch songs.[10] In 1962, Dinah hired a male backing trio called the Allegros, consisting of Jimmy Thomas on drums, Earl Edwards on sax, and Jimmy Sigler on organ. Edwards was eventually replaced on sax by John Payne. A Variety writer praised their vocals as "effective choruses".[11]
Washington's achievements included appearances at the Newport Jazz Festival (1955–59), the Randalls Island Jazz Festival in New York City (1959), and the International Jazz Festival in Washington D.C. (1962), frequent gigs at Birdland (1958, 1961–62), and performances in 1963 with Count Basie and Duke Ellington.
Death
Early on the morning of December 14, 1963, Washington's seventh husband, football great Dick "Night Train" Lane, went to sleep with his wife, and awoke later to find her slumped over and not responsive. Doctor B. C. Ross came to the scene to pronounce her dead.[11] An autopsy later showed a lethal combination of secobarbital and amobarbital, which contributed to her death at the age of 39. She is buried in the Burr Oak Cemetery in Alsip, Illinois.
Dinah Washington - Long John Blues (w/ lyrics)
Written By Dinah Washington in 1948
Written By Dinah Washington in 1948
Oscar "Buddy" Woods +14.12.1955
Oscar "Buddy" Woods (c. 1895 – December 14, 1955)[1][2] was an American Texas blues guitarist, singer and songwriter.
Woods, who was an early blues pioneer in lap steel, slide guitar playing, recorded thirty-five tracks between 1930 and 1940. He recorded solo and as part of the duo, the Shreveport Home Wreckers, and with a six/seven piece group, the Wampus Cats. Early in his career he backed Jimmie Davis on some of his recordings. Woods's best known song was "Lone Wolf Blues", from which came his billing as 'The Lone Wolf'.[1]
Life and career
He was born around Natchitoches, Louisiana, United States, with the birth year variously listed as somewhere between 1892 and 1900. He relocated to Shreveport, Louisiana around 1925, where he started to work as a street musician and played for tips at juke joints.[1] Various sources claim that he learned the rudiments of playing a bottleneck slide guitar after watching an Hawaiian music ensemble, who toured Louisiana in the early part of the 1920s.[3] Woods teamed up with another guitar player, Ed Schaffer, and played billed as the Shreveport Home Wreckers at The Blue Goose Grocery and Market, which was a speakeasy in Shreveport.[4] In May 1930, the duo recorded for Victor Records in Memphis, Tennessee.[1]
In May 1932, the Shreveport Home Wreckers backed Jimmie Davis on four sides recorded in Dallas, Texas. They also recorded another two tracks on their own, and the released single saw them billed as 'Eddie and Oscar'. The significance of this mixed-race recording session spilled over into a joint tour - a unique sociological situation at that time in the South.[1]
Woods next recorded for Decca in March 1936 in New Orleans.[1] The tracks included Woods best known piece, "Lone Wolf Blues," and his first take of the self-penned "Don't Sell It, Don't Give It Away."[3] The releases sold well, and by the time Woods recorded again in October 1937, the Shreveport Home Wreckers had swelled in numbers to become the Wampus Cats. They backed both Woods, and a female singer and pianist, Kitty Gray,[5] on several tracks recorded in 1937 and the following year for Vocalion.[1]
In October 1940, Woods made his final five track recording for the Library of Congress.[1] Following the session, John Lomax wrote: "Oscar (Buddy) Woods, Joe Harris and Kid West are all professional Negro guitarists and singers of Texas Avenue, Shreveport.. The songs I have recorded are among those they use to cajole nickels and dimes from the pockets of listeners."[6] Local records suggest that Woods continued to live in Shreveport, and after his recording career was over, he played again as a street musician and at dances.[1]
Woods died in Shreveport in December 1955.[1]
Style and legacy
Woods played his guitar flat on his lap, in a similar manner to the Hawaiians, using a broken bottleneck slide technique. Lead Belly also used a slide technique, but held his guitar in the normal manner. It is suggested that the popularity of slide guitar playing in the Mississippi delta at that time, may have arisen from the appearance of Hawaiian musicians at the 1893 Chicago World's Fair.[7][8]
The Allmusic music journalist, Uncle Dave Lewis, noted of Woods, "in the style of lap steel, bottleneck blues slide guitar; some experts believe he may have been the primary force behind the creation of this whole genre".[1]
Woods guitar playing techiques were passed onto his protégé, Black Ace, who was approximately fifteen years younger than Woods, and had played with Woods around Shreveport.[6][7] The compilation album mentioned below, included both Woods and Black Ace tracks.[2]
The Shreveport Home Wreckers track, "Flying Crow Blues", was recorded in 1932. Robert Johnson used one set of its lyrics, almost word for word, for the final verse of his song, "Love in Vain" (1937).
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