Rory Gallagher-Etta James-Muddy Waters Live At Montreux
” Outstanding performances abound in this musical variety show filmed at Harlem’s Apollo Theatre, New York City in 1954. We highlight different shades of the blues in this clip with Amos Milburn doing Bad Bad Whiskey, Big Joe Turner with a great version of Shake Rattle & Roll and Cab Calloway surprising everyone with a version of Minnie the Moocher
You can download the entire movie at the link below. Or watch the individual performances here at MindsiMedia.
” Big Joe Turner sings and Elmore James plays guitar on this novelty song credited as written by Joe’s wife, Lou Willie Turner. Cut in Chicago, October 1953.”
” Gary Moore playing The Stumble at Montreux live in 1990
All Copyrights Are to Eagle Vision and The Montreux Live Jazz Festival”
Wembley Arena – a September 24, 2004, concert marking the 50th Anniversary of the Fender Stratocaster guitar.
Pino Palladino: Bass guitar; Ian Thomas: Drums & percussion.
Robert William Gary Moore (4 April 1952 — 6 Feb. 2011), was a Northern Irish musician, blues singer and guitarist.
In a career dating back to the 1960s, Moore played with artists including Phil Lynott and Brian Downey during his teens, leading him to memberships with the Irish bands Skid Row and Thin Lizzy on three separate occasions. Moore shared the stage with such blues and rock luminaries as B.B. King, Albert King, Colosseum II, George Harrison and Greg Lake, as well as having a successful solo career. He guested on a number of albums recorded by high profile musicians, including a cameo appearance playing the lead guitar solo on “She’s My Baby” from Traveling Wilburys Vol. 3.
Moore died in his sleep of a heart attack in his hotel room while on holiday in Estepona, Spain, in February 2011.
“Red House” is a song written by Jimi Hendrix and originally recorded by The Jimi Hendrix Experience in 1966. The song, a slow twelve-bar blues, “is one of the most traditional in sound and form of all his official recordings”. It was developed during his pre-Experience days while Hendrix was performing in Greenwich Village and was inspired by earlier blues songs. Hendrix recorded several studio and live versions during his career. “
” SBD recording from the Swing Auditorium, Orange Show Fairgrounds, San Bernadino, CA, February 19th 1971. From the collection of Harvey Kaslow and Craig Todd, edited and mastered by SIRMick.”
Muddy Waters, Memphis Slim, Willy Dixon, Otis Spann et al. – Bye Bye Blues
Edgar WINTER and Robben Ford guests
Live Report : http://rockmeeting.com/index.php/live…
Song : Texas Guitar Boogie Shuffle
Live second part show Johnny Winter
At Olympia from Paris – France – April 07, 2013
Edgar Winter ( Vocal & Sax. )
Robben Ford ( Guitar )
Paul Nelson ( Guitar )
Scott Spray ( Bass )
Tommy Curiate ( Drums)
” Tampa Red (January 8, 1904 – March 19, 1981), born Hudson Woodbridge but known from childhood as Hudson Whittaker, was an influential American musician.
Tampa Red is best known as an accomplished and influential blues guitarist who had a unique single-string bottleneck style. His songwriting and his silky, polished slide technique influenced other leading Chicago blues guitarists, such as Big Bill Broonzy and Robert Nighthawk, as well as Muddy Waters, Elmore James, Mose Allison and many others. “
” Chicago Blues Festival: Blues Festival Headliners Travel Up The Mississippi To Chicago ~
FREE Admission • Millennium Park • Grant Park • June 6 – 9, 2013
The Chicago Blues Festival is the largest free blues festival in the world and remains the largest of Chicago’s Music Festivals. During three days on five stages, more than 500,000 blues fans prove that Chicago is the “Blues Capital of the World.” Past performers include Bonnie Raitt, Ray Charles, B.B. King, the late Bo Diddley, Buddy Guy and the late Koko Taylor.
Performance Schedule & Lineup:
May is blues month in Chicago! Enjoy a number of Chicago Blues Festival preview events throughout the City at the Chicago Cultural Center, Daley Plaza and other locations.
Thursday, June 6
The 2013 Chicago Blues Festival kicks-off on Thursday, June 6 in Millennium Park with performances by Shemekia Copeland (above) and Quinn Sullivan.
Friday, June 7
The Chicago Blues Festival moves to Grant Park on Friday with performances by Irma Thomas and Bobby Rush (above) and his Blues Band.
Saturday, June 8
Saturday’s headliners include Otis Clay, Uvee Hayes, The Bar-Kays, Eddie Floyd (above) and Sir Mack Rice.
Sunday, June 9
The Chicago Blues Festival closes on Sunday, June 9 with performances by blues greats James Cotton (above), John Primer, Billy Branch, Eddy “The Chief” Clearwater and many more.”
FESTIVAL INFORMATION & RESOURCES
Thursday, June 6
Millennium Park – Hours: 6:30-9pm
201 E. Randolph St., between Michigan Ave. & Columbus Ave. Chicago, IL 60602
Friday, June 7-Sunday, June 9
Grant Park – Hours: 11am-9:30pm
Jackson & Columbus
Chicago, IL 60602
HT/ Blues Advocate
Jacobs was born in Marksville, Louisiana and raised in Rapides Parish, Louisiana, where he first learned to play the harmonica. After quitting school by the age of 12, Jacobs left rural Louisiana and travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills on harmonica and guitar performing with much older bluesmen such as Sonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards and others.”
” Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work. According to fellow Chicago bluesman Floyd Jones, Little Walter’s first recording was an unreleased demo recorded soon after he arrived in Chicago on which Walter played guitar backing Jones. Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address system or guitar amplifier. He could thus compete with any guitarist’s volume. However, unlike other contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica, or any other instrument. Madison Deniro wrote a small biographical piece on Little Walter stating that “He was the first musician of any kind to purposely use electronic distortion.”“
” Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.”
” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.”
” In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.” “
” By 1950, Walter was firmly entrenched as Waters‘ studio harpist at Chess as well (long after Walter had split the Muddy Waters band, Leonard Chess insisted on his participation on waxings — why split up an unbeatable combination?). That’s how Walter came to record his breakthrough 1952 R&B chart-topper “Juke” — the romping instrumental was laid down at the tail-end of a Waters session. Suddenly, Walterwas a star on his own, combining his stunning talents with those of the Aces (guitarists Louis and David Myers and drummer Fred Below) and advancing the concept of blues harmonica another few light years with every session he made for Checker Records.”
” From 1952 to 1958, Walter notched 14 Top Ten R&B hits, including “Sad Hours,” “Mean Old World,” “Tell Me Mama,” “Off the Wall,” “Blues with a Feeling,” “You’re So Fine,” a threatening “You Better Watch Yourself,” the mournful “Last Night,” and a rocking “My Babe” that was Willie Dixon‘s secularized treatment of the traditional gospel lament “This Train.” Throughout his Checker tenure,Walter alternated spine-chilling instrumentals with gritty vocals (he’s always been underrated in that department; he wasn’t Muddy Waters or the Wolf, but who was?).”
“ Walter utilized the chromatic harp in ways never before envisioned (check out his 1956 free-form instrumental “Teenage Beat,” with Robert Jr. Lockwood and Luther Tucker manning the guitars, for proof positive). 1959′s determined “Everything Gonna Be Alright” was Walter‘s last trip to the hit lists; Chicago blues had faded to a commercial non-entity by then unless your name was Jimmy Reed.
Tragically, the ’60s saw the harp genius slide steadily into an alcohol-hastened state of unreliability, his once-handsome face becoming a road map of scars. In 1964, he toured Great Britain with the Rolling Stones, who clearly had their priorities in order, but his once-prodigious skills were faltering badly. That sad fact was never more obvious than on 1967′s disastrous summit meeting of Waters, Bo Diddley, and Walter for Chess as the Super Blues Band; there was nothing super whatsoever about Walter‘s lame remakes of “My Babe” and “You Don’t Love Me.”
“ Walter‘s eternally vicious temper led to his violent undoing in 1968. He was involved in a street fight (apparently on the losing end, judging from the outcome) and died from the incident’s after-effects at age 37. His influence remains inescapable to this day — it’s unlikely that a blues harpist exists on the face of this earth who doesn’t worship Little Walter.”
” Though Little Walter’s studio performances of the late 1950s continued to produce first-rate material, his rough lifestyle began to take its toll. By the 1960s he bore facial scars from drunken altercations. As Muddy Waters told Paul Oliver during the 1960s in Conversation With the Blues, “He’s real tough, Little Walter, and he’s had it hard. Got a slug in his leg right now!” Walter’s street-hardened behavior resulted in his death, at his home, on February 15, 1968, from a blood clot sustained during a street fight. He was 37.”
” Upon his death, Little Walter left a recording career unparalleled in the history of postwar Chicago Blues. His musicianship has influenced nearly every modern blues harmonica player. In the liner notes to Confessin’ the Blues, Pete Welding wrote: “Honor Little Walter, who gave us so much and, who like most bluesmen, received so little.” But as a man who lived through his instrument, Walter knew no other source of reward than the mastery of his art and the freedom to create music of original expression.”
Marble Arch Records 1964 Checker 1967
Chess 1985 Cleo Records 1986
Singles & EPs
(7″, Single, Promo)
Checker 2013 Checker Unknown
Little Walter / Pigmeat Markham - My Babe / Here Comes The Judge (7″, RP)
Dale Hawkins / Little Walter - La Do Dada / Juke (7″, RP)
Chess 1964 Chess 1969
Red Lightnin’ 1969
Syndicate Chapter, Syndicate Chapter 1971
Muddy Waters - Little Walter - Howlin’ Wolf - We Three Kings (LP, Comp)
Syndicate Chapter 1971 Chess 1972 Chess 1976
Bo Diddley, Little Walter, Muddy Waters, Howlin’ Wolf - Super Blues Session (2xLP, Comp, RE)
Bellaphon 1976 Chess 1977
(Cass, Comp, RE, Dol)
Chess, MCA Records 1986
Deja Vu 1987
Blue City (2) 1989
Blues Encore 1990
Roots (6) 1990
Blues Encore 1990
Trace (2) 1992 Orbis 1995
DeAgostini (Netherlands) B.V. 1995
(2xCD, Comp, RM)
(CD, RM, Comp)
(CD, Comp, RM)
” Ella Fitzgerald (April 25, 1917 – June 15, 1996), also known as the “First Lady of Song“, “Queen of Jazz“, and “Lady Ella”, was an American jazz vocalist with a vocal range spanning three octaves (D♭3 to D♭6). She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a “horn-like” improvisational ability, particularly in her scat singing.
Fitzgerald was a notable interpreter of the Great American Songbook. Over the course of her 59-year recording career, she sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.”
” Fitzgerald was born in Newport News, Virginia, the daughter of William and Temperance “Tempie” Fitzgerald. The pair separated soon after her birth, and Ella and her mother went to Yonkers, New York, where they eventually moved in with Tempie’s longtime boyfriend, Joseph Da Silva. Fitzgerald’s half-sister, Frances Da Silva, was born in 1923. She and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday School.
In her youth, Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, “My mother brought home one of her records, and I fell in love with it….I tried so hard to sound just like her.”
” In 1932, her mother died from a heart attack. Following this trauma, Fitzgerald’s grades dropped dramatically, and she frequently skipped school. Abused by her stepfather, she ran away to her aunt and, at one point, worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time was homeless.”
” She made her singing debut at 17 on November 21, 1934, at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous “Amateur Nights”. She had originally intended to go on stage and dance, but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell’s “Judy” and “The Object of My Affection,” a song recorded by the Boswell Sisters, and won the first prize of US$ 25.00.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, “reluctant to sign her….because she was gawky and unkempt, a diamond in the rough.“ Webb offered her the opportunity to test with his band when they played a dance at Yale University.”
” She began singing regularly with Webb’s Orchestra through 1935 at Harlem’s Savoy Ballroom. Fitzgerald recorded several hit songs with them, including “Love and Kisses” and “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)“. But it was her 1938 version of the nursery rhyme, “A-Tisket, A-Tasket“, a song she co-wrote, that brought her wide public acclaim.
Chick Webb died on June 16, 1939, and his band was renamed “Ella and her Famous Orchestra” with Ella taking on the role of nominal bandleader. Fitzgerald recorded nearly 150 songs with the orchestra before it broke up in 1942, “the majority of them novelties and disposable pop fluff”.”
” Going out on her own, Ella Fitzgerald landed a deal with Decca Records. She recorded some hit songs with the Ink Spots and Louis Jordan in the early 1940s. Fitzgerald also made her film debut in 1942′s comedy western Ride ‘Em Cowboy with Bud Abbott and Lou Costello. Her career really began to take off in 1946 when she started working with Norman Granz. Granz orchestrated the Jazz at the Philharmonic, which was a series of concerts and live records featuring most of the genre’s great performers. Fitzgerald also hired Granz to become her manager.”
” Around this time, Fitzgerald went on tour with Dizzy Gillespie and his band. She started changing her singing style, incorporating scat singing during her performances with Gillespie. Fitzgerald also fell in love with Gillespie’s bass player Ray Brown. The pair wed in 1947, and they adopted a child born to Fitzgerald’s half-sister whom they named Raymond “Ray” Brown Jr. The marriage ended in 1952.”
The 1950s and ’60s proved to be a time of critical and commercial success for Fitzgerald. She even earned the moniker “The First Lady of Song” for her mainstream popularity and unparalleled vocal talents. Her unique ability to mimicking instrumental sounds helped popularize the vocal improvisation of “scatting” which became her signature technique.”
” In 1955, Fitzgerald began recording for Granz’s newly created Verve Records. She made some of her most popular albums for Verve, starting out with 1956′s Ella Fitzgerald Sings the Cole Porter Song Book. Two years later, Fitzgerald picked up her first two Grammy Awards for two later songbook projects—Ella Fitzgerald Sings the Duke Ellington Song Book and Ella Fitzgerald Sings the Irving Berlin Song Book. She actually worked directly with Ellington on that album.”
” A truly collaborative soul, Fitzgerald produced great recordings with such artists as Louis Armstrong and Count Basie. She also performed several times with Frank Sinatra over the years as well. In 1960, Fitzgerald actually broke into the pop charts with her rendition of “Mack the Knife.” She was still going strong well into the ’70s, playing concerts across the globe. One especially memorable concert series from this time was a two-week engagement in New York City in 1974 with Frank Sinatra and Count Basie.”
” Ella continued to work as hard as she had early on in her career, despite the ill effects on her health. She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts.”
” Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down. Additionally, when Frances died, Ella felt she had the additional responsibilities of taking care of her sister’s family.
In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments. France followed suit several years later, presenting her with their Commander of Arts and Letters award, while Yale, Dartmouth and several other universities bestowed Ella with honorary doctorates.”
” In September of 1986, Ella underwent quintuple coronary bypass surgery. Doctors also replaced a valve in her heart and diagnosed her with diabetes, which they blamed for her failing eyesight. The press carried rumors that she would never be able to sing again, but Ella proved them wrong. Despite protests by family and friends, including Norman, Ella returned to the stage and pushed on with an exhaustive schedule.”
” By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York’s renowned Carnegie Hall. It was the 26th time she performed there.
As the effects from her diabetes worsened, 76-year-old Ella experienced severe circulatory problems and was forced to have both of her legs amputated below the knees. She never fully recovered from the surgery, and afterward, was rarely able to perform. During this time, Ella enjoyed sitting outside in her backyard, and spending time with Ray, Jr. and her granddaughter Alice. “I just want to smell the air, listen to the birds and hear Alice laugh,” she said.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, “Ella, we will miss you.”
After a private memorial service, traffic on the freeway was stopped to let her funeral procession pass through. She was laid to rest in the “Sanctuary of the Bells” section of the Sunset Mission Mausoleum at Inglewood Park Cemetery in Inglewood, California. “
April 25, 1918-June 15, 1996
Decca 1949 Brunswick 1950 Decca 1954 Decca 1955
Ella Fitzgerald, Lena Horne , and Billie Holiday - Ella, Lena, And Billie (LP)
Columbia 1955 Brunswick 1956 Verve Records 1956 Verve Records 1956 Verve Records 1957 Decca 1957 Verve Records 1957 Verve Records 1957 Verve Records 1957 Verve Records 1958 Verve Records 1958 Verve Records 1958 Verve Records 1958 Verve Records 1958
Decca 1958 Verve Records 1959 Verve Records, Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1959 Verve Records 1960 Verve Records 1960 Verve Records 1960 Verve Records 1960 Verve Records 1960 Verve Records 1961 Verve Records 1961 Verve Records 1961 Verve Records 1961
Verve Records 1961 Verve Records 1962 Verve Records 1962 Verve Records 1963 Verve Records 1963 Verve Records, Verve Records 1963 Verve Records 1963 Verve Records 1964 Verve Records 1964 Verve Records, Stern Musik 1965 Verve Records 1965 Metro Records 1965 Verve Records 1966
Polydor, Bertelsmann Club 1966 Verve Records 1967 Capitol Records 1967 Decca 1967 Verve Records 1967 Capitol Records 1967
Verve Records 1967 Verve Records 1968 Capitol Records 1968 Capitol Records 1968
Sounds Superb 1968 Reprise Records 1969 MPS Records, MPS Records 1969 Reprise Records 1971
(LP, Album, Ltd)
Supraphon, Gramofonový Klub 1971 Atlantic 1972 Columbia 1973 MCA Coral 1973
Capitol Records, EMI 1973 Pablo Records 1974 Pablo Records 1974 Pablo Records 1975
S*R International, S*R International 1975 MCA Coral 1975 Record International Service 1975 Мелодия 1976 Pablo Records 1976 Pablo Records 1976 Intercord 1976 Pablo Live 1977 Verve Records 1977 Pablo Records 1978 Verve Records 1978
Ella Fitzgerald With Jackie Davis And Louie Bellson* - Lady Time ◄ (2 versions)
Pablo Records 1978
Lionel Hampton, Count Basie, Duke Ellington, Ella Fitzgerald, Louis Armstrong - Original History Of Jazz (2xLP, Gat)
Ella Fitzgerald And Nelson Riddle Orchestra, The* - The George And Ira Gershwin Songbook (Cass, RE, Dou)
Verve Records 1978
Lakeshore Music 1978 Pablo Records 1979
Fabbri Editori 1979 AMIGA 1980 Pablo Records 1980 Pablo Live 1980
(2xLP, Album, RE)
Verve Records 1980 Pablo Records 1981
Jazz Bird 1981 Pablo Records 1982
Ella Fitzgerald Sings Count Basie Plays With Count Basie Orchestra, The* - A Classy Pair ◄ (2 versions)
Pablo Today 1982
Verve Records 1982 Pablo Records 1983 Pablo Live 1983
Verve Records 1983 Verve Records 1984 Pablo Live 1984 Verve Records 1984
Delta Music 1984 Pablo Records 1986
Hallmark Records 1988
Verve Records, Gong 1988 Success 1989 Verve Records 1989
Reprise Records 1989
Verve Records 1991
Элла Фитцджеральд Поёт Произведения Дюка Эллингтона / Ella Fitzgerald Sings The Duke Ellington Song Book
Мелодия 1991 Verve Records 1993 Classic Records 1994
(4xCD, Album, RE, Dig)
Verve Records 1998
Frank Sinatra + Ella Fitzgerald + Antonio Carlos Jobim - A Man And His Music + Ella + Jobim (DVD-A, Mono)
Warner Reprise Video 1999
Ella Fitzgerald & Joe Pass - Sophisticated Lady (CD, Album)
Pablo Records 2001 Not Now Music 2010
(2xLP, Album, Ltd)
Analogue Productions 2012
Joe Bonamassa, Dusty Hill, Derek Trucks and Billy Gibbons Induction Freddie King HD
Buddy Guy with Ron Wood & Johnny Lang – Five Long Years ‘Crossroads Guitar Festival 2010′
Albert King (guitar, vocals; born Albert Nelson on April 25, 1923, died December 21, 1992)
” As an electric guitar player who focused more on tone and intensity than flash, Albert King had a tremendous impact on countless rock and roll guitarists, including Eric Clapton, Jimi Hendrix, Michael Bloomfield and Stevie Ray Vaughan. King was also one of the first bluesmen who crossed over into the world of soul music, signing with Stax Records and recording such classic songs as “Born Under a Bad Sign” and “Crosscut Saw.” “
” Albert King was born Albert Nelson on April 25, 1923, in Indianola, Mississippi, the same town where B.B. King grew up. As a child, he sang with his family’s gospel group at a church where his father played the guitar. When King was eight, his family moved to Forrest City, Arkansas, and he would pick cotton on plantations in the area. Around that same time, King bought his first guitar, paying only $1.25. His first inspiration was T-Bone Walker.
King began working as a professional musician when he joined a group called In the Groove Boys in Osceola, Arkansas, in the late Forties. He then moved north and played drums with Jimmy Reed, both onstage and on several early Reed recordings. In the early Fifties, King moved to Gary, Indiana, and then, in 1953, to Chicago. It was in Chicago that King cut his first singles, “Lonesome in My Bedroom” and “Bad Luck Blues,” for Parrot Records.”
” The electric guitar quickly became King’s primary instrument, his preferred instrument being a Gibson Flying V that he played left-handed, holding it upside down and tuning it for a right-handed player. A huge man, weighing more than 250 pounds and standing six-feet-four, King was a commanding physical presence onstage.
In 1956, King returned to St. Louis and formed a new band. He resumed recording in 1959 and scored his first minor hit, “I’m a Lonely Man.” The song was written by Little Milton, who was an A&R man for Bobbin Records, the label that released the record. King recorded for several other small labels during this period, including King Records. In 1961, he scored his first major hit, “Don’t Throw Your Love on Me Too Strong,” which reached Number 14 on the R&B chart.
King’s real breakthrough came in 1966, when he moved to Memphis and signed with Stax Records. Working with producer Al Jackson Jr. and backed by Booker T. and the M.G.’s, King recorded such classics as “Crosscut Saw” and “As the Years Go Passing By.” In 1967, Stax released Born Under a Bad Sign. The title track became King’s best-known song and has been covered by many artists, including Cream. King played many shows at promoter Bill Graham‘s Fillmore East and the Fillmore West venues. One show was recorded and released as the album Live Wire/Blues Power.
In 1969, King performed live with the St. Louis Symphony Orchestra, forming what was called an “87-piece blues band.” During the early Seventies, he recorded the album Lovejoy with a group of white rock singers and an Elvis Presley tribute album, Albert King Does the King’s Things. King continued to tour throughout the Seventies, and in June 1970, he joined the Doors onstage at a show in Vancouver, Canada.
King’s sound underwent a major change in the Seventies, as he teamed up with the Bar-Kays and the Memphis Horns on the albums I’ll Play the Blues for You and I Wanna Get Funky. That partnership gave his music a much funkier sound than it had on his earlier recordings, and the former album’s title track became one of his signature songs. King also worked with Allen Toussaint and some of the Meters during this period.”
” During the Eighties, King received considerable praise from many young blues guitarists, most notably Stevie Ray Vaughan. The two appeared together on the Canadian television show In Session in December 1983, a performance that was issued on CD in 1993. One British writer described Vaughan as a “young Texan who apparently believes that Albert King is God and the Lord should be praised regularly.”
” King continued to perform until his death from a heart attack on December 21, 1992. At his funeral, Joe Walsh played a slide-guitar rendition of “Amazing Grace” as a tribute to King.”
” From Eric Clapton, Michael Bloomfield and Johnny Winter, to Joe Walsh, Stevie Ray Vaughan,Derek Trucks and beyond, the influence of Albert King’s husky vocals and his signature Gibson Flying V guitar will live on forever.”