Uploaded on Dec 4, 2007
” Rare video of Canned Heat playing live their song “On The Road Again”. This was in early 1970 of their European tour. The blind owl plays a wonderful harp part.”
Uploaded on Dec 4, 2007
” Rare video of Canned Heat playing live their song “On The Road Again”. This was in early 1970 of their European tour. The blind owl plays a wonderful harp part.”
Uploaded on Nov 18, 2007
” Hound Dog Taylor & the Houserockers featuring Little Walter on harmonica. This was back in 1967.
My account was deleted a while ago so I re-uploaded this one again. I thought it was kind a shame this one was deleted of youtube because we had some very nice discussions going, with even people like Billy Branch commenting! “
” Beck grew up in Wallington, England. His mother’s piano playing and the family’s radio tuned to everything from dance to classical made sure Beck was surrounded by music from a young age.
“ For my parents, who lived through the war, music was a source of comfort to them. Life was tense and music helped them forget about their troubles. I’m sure that made an impression on me,” recalls Beck. “I was really small when jazz broke through in England and I can still remember sneaking off to the living room to listen to it on the radio—much to my parent’s disapproval.”
Inspired by the music he heard, it wasn’t long before Beck picked up a guitar and began playing around London. He briefly attended Wimbledon’s Art College before leaving to devote all of his time to music. Beck worked as a session player, with Screaming Lord Sutch – the British equivalent to Screaming Jay Hawkins – and the Tridents before he replaced Eric Clapton as the Yardbirds’ lead guitarist in 1965.”
” Geoffrey Arnold “Jeff” Beck (born 24 June 1944) is an English rock guitarist. He is one of three noted guitarists to have played with The Yardbirds(Eric Clapton and Jimmy Page are the other two). Beck also formed The Jeff Beck Group and Beck, Bogert & Appice.
Much of Beck’s recorded output has been instrumental, with a focus on innovative sound and his releases have spanned genres ranging from blues-rock, heavy metal, jazz fusion and an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained the sustained commercial success of many of his contemporaries and bandmates.
He was ranked 5th in Rolling Stone‘s list of the “100 Greatest Guitarists of All Time” and the magazine has described him as “one of the most influential lead guitarists in rock”. MSNBC has called him a “guitarist’s guitarist”. Beck has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Grammy Award for Best Pop Instrumental Performance once. He has been inducted into the Rock and Roll Hall of Fame twice: as a member of The Yardbirds (1992) and as a solo artist (2009). “
All About Jazz is celebrating Jeff Beck’s birthday today!
” Jeff Beck isn’t your typical guitar legend. His goal, in fact, is to make you forget that he plays guitar. “I don\’t understand why some people will only accept a guitar if it has an instantly recognizable guitar sound,” says Beck.”Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off… Read more. “
” This Jeff Beck recordings listing is arranged in chronological order, except for the recordings he made with the Yardbirds. Jeff Beck was a member of the Yardbirds for two years and some of the recordings he made with them were not released until 14 years later. All records listed are US and England, unless otherwise specified.”
Happy Birthday Jeff , Long May You Play
Published on Jul 27, 2012
” Les Paul – Jeff Beck – Jamming Together – Upgraded Version of my track-hack copy.
Billy Squier intro with Les Paul & Jeff Beck trading off riffs.
(note the wad of duct tape on JB’s strat..
word was he knew LP was going to yank the cord out …cause its not a Les Paul……………. Rip Les Paul (Lester William Polfuss) June 9 1915 – Aug 13 2009
*NOTE* This video uses copyrighted material in a manner that does not require approval of the copyright holder. No copyright infringement is intended. The musical content is used under the FAIR USE policy, and is presented purely in good faith for the purposes of promoting information of an educational and historical nature only. All copyright claim is fully retained by the authors, publishers, and owners of the original copyright.”
Uploaded on Apr 13, 2009
” ” Where Did You Sleep Last Night ” (1944)
The ” RED HOT BLUES ” (1925-1945)
Big Bill Broonzy
Richard “Rabbit” Brown
Bumble Bee Slim
Sleepy John Estes
Blind Boy Fuller
Peg Leg Howell
Mississippi John Hurt
Papa Charlie Jackson
Blind Lemon Jefferson
Blind Willie Johnson
Cripple Clarence Lofton
Robert Lee McCoy
Blind Willie McTell
The Memphis Jug Band
Hambone Willie Newbern
Casey Bill Weldon
Big Joe Williams “
” Lizzie Douglas (June 3, 1897 – August 6, 1973), known as Memphis Minnie, was a blues guitarist, vocalist, and songwriter whose recording career lasted from the 1920s to the 1950s. She recorded around 200 songs, some of the best known being “Bumble Bee”, “Nothing in Rambling”, and “Me and My Chauffeur Blues“. Her performances and songwriting made her well known in a genre dominated mostly by men. She died on August 6, 1973, in Memphis, Tennessee.
Lizzie Douglas was born on June 3, 1897 in Algiers, Louisiana. She was the eldest of 13 siblings. Her parents Abe and Gertrude Douglas nicknamed her “Kid” during her early childhood. Her family called her “Kid” throughout her childhood because she never liked the name “Lizzie”, and when she first began performing she played under the name Kid Douglas.
When she was 7 she and her family moved to Walls, Mississippi, a town a little to the South of Memphis. The following year she received her first guitar for Christmas, and learned to play banjo by the age of 10 and guitar by the age of 11, when she started playing local parties. The family later moved to Brunswick, Tennessee, but after Minnie’s mother died in 1922 her father moved back to Walls, where he died thirteen years later in 1935.
In 1910, at the age of 13, she ran away from her home to live on Beale Street in Memphis, Tennessee. She played on street corners for most of her teenage years, although she would periodically return to her family’s farm when she ran out of money. Her sidewalk performances led to a four-year tour of the South with the Ringling Brothers Circus from 1916 to 1920. Eventually she came back to Beale Street and got involved in the blues scene. At the time, women, whiskey, and cocaine were high in demand with the people and places she would be around. She made her money by playing guitar, singing, and prostitution, which was not uncommon at the time, since many female performers also worked as prostitutes because of financial desperation.
In 1929 she and Kansas Joe McCoy, her second husband, began to perform together. They were discovered by a talent scout of Columbia Records in front of a barber shop where they were playing for dimes. When she and McCoy went to record in New York, they were given the names Kansas Joe and Memphis Minnie by a Columbia A and R man. During the next few years she and McCoy released a series of records, performing as a duet. In February 1930 they recorded the song “Bumble Bee”, which they had already recorded for Columbia but which had not yet been released, for the Vocalion label. This became one of Minnie’s most popular songs, and she eventually recorded five versions of it. Minnie and McCoy continued to record for Vocalion until August 1934, when they recorded a few sessions for Decca, with their last session together being for Decca in September. They divorced in 1935. She and McCoy introduced country blues to the urban environment and became very well known.
A famous anecdote from Big Bill Broonzy‘s autobiography Big Bill Blues recounts a cutting contest between Minnie and Broonzy. It took place in a Chicago Nightclub on June 26, 1933, for the prize of a bottle of whiskey and a bottle of gin. Each singer was to sing two songs, and after Broonzy sang “Just a Dream” and “Make My Getaway”, Minnie won the prize with “Me and my Chauffeur Blues” and “Looking the World Over”. Paul and Beth Garon, in their book Woman with Guitar: Memphis Minnie’s Blues, suggest that Broonzy’s account may have combined various contests at different dates, as these songs of Minnie’s date from the 1940s rather than the 1930s.
By 1935 Minnie was established in Chicago, and had became one of the group of musicians who worked regularly for record producer and talent scout Lester Melrose. Back on her own after a divorce from Kansas Joe, Minnie began to experiment with different styles and sounds. She recorded four sides for the Bluebird label in July 1935, then in August of that year she returned to the Vocation label, and then in October of the same year recorded another session for Bluebird, this time accompanied by Casey Bill Weldon. By the end of the 1930s, in addition to her output for Vocalion, Minnie had recorded nearly 20 sides for Decca Records and eight sides for Bluebird Records. During the 1930s Minnie also toured extensively, mainly in the South.
In 1938 Minnie returned to recording for the Vocation label, this time accompanied by Charlie McCoy, Kansas Joe’s brother, on mandolin. Around this time she married guitarist and singer Earnest Lawlars (a.k.a. Little Son Joe) and began recording material with him in 1939, with Son’s playing adding a more rhythmic backing to Minnies’s guitar. Minnie and Little Son Joe also began to release material on Okeh Records in the 1940s, and the couple continued to record together throughout the decade. In May 1941 Minnie recorded her biggest hit, “Me And My Chauffeur Blues.” A follow-up date produced two more blues standards, “Looking The World Over” and Joe’s “Black Rat Swing” (issued as by “Mr. Memphis Minnie”). At the dawn of the 1940s Minnie and Joe continued to work at their “home club”, Chicago’s popular 708 club where they were often joined by Big Bill, Sunnyland Slim, or Snooky Pryor. They also played at many of the other better known Chicago nightclubs. During the 1940s Minnie and Son Joe performed both together and on separate gigs in the Chicago and Indiana areas. Minnie often played at “Blue Monday” parties at Ruby Lee Gatewood’s on Lake Street. The poet Langston Hughes, who saw Minnie perform at the 230 club on New Year’s Eve 1942, wrote of her “hard and strong voice” being made harder and stronger by amplification, and described the sound of her electric guitar as “a musical version of electric welders plus a rolling mill”.
Later in the 1940s Minnie lived in Indianapolis, Indiana and Detroit, Michigan, returning to Chicago in the early 1950s. By the late 1940s, clubs began hiring younger and cheaper artists to play shows at their venues and Columbia began dropping Blues artists including Memphis Minnie.
Later life and death
Minnie continued to record into the 1950s, but her health began to become a problem for her. With public interest in her music declining, she retired from her musical career and in 1957 she and Lawlars returned to Memphis. Periodically, she would appear on Memphis radio stations to encourage young blues musicians. As the Garons wrote in Women With Guitar, ‘She never laid her guitar down, until she could literally no longer pick it up.’ She suffered a stroke in 1960, which caused her to be wheelchair-bound. The following year her husband, Earnest “Little Son Joe” Lawlars died, and Minnie had another stroke a short while after. She could no longer survive on her social security income so magazines wrote about her and readers sent her money for assistance. She spent her last years in the Jell Nursing Home in Memphis where she died of a further stroke in 1973. She is buried at the New Hope Baptist Church Cemetery in Walls, DeSoto County, Mississippi. A headstone paid for by Bonnie Raitt was erected by the Mt. Zion Memorial Fund on 13 October 1996 with 35 family members in attendance including her sister, numerous nieces (including Laverne Baker) and nephews. The ceremony was taped for broadcast by the BBC.
Her headstone is marked:
Lizzie “Kid” Douglas Lawlers
aka Memphis Minnie
The inscription on the back of her gravestone reads:
“The hundreds of sides Minnie recorded are the perfect material to teach us about the blues. For the blues are at once general, and particular, speaking for millions, but in a highly singular, individual voice. Listening to Minnie’s songs we hear her fantasies, her dreams, her desires, but we will hear them as if they were our own.“
Character and personal life
Minnie was known for being a polished professional, and an independent woman who knew how to take care of herself. Although she portrayed herself to the public as being feminine and “lady-like” by wearing expensive dresses and jewelry, she was aggressive when she needed to be and was not shy when it came to fighting. According to bluesman Johnny Shines, “Any men fool with her she’d go for them right away. She didn’t take no foolishness off them. Guitar, pocket knife, pistol, anything she get her hand on she’d use it”. According to Homesick James she chewed tobacco all the time including whenever she sang or played her guitar, and always had a cup at hand in case she wanted to spit. Most of the music she made was autobiographical; Minnie expressed a lot of her personal life through her music.
Minnie was married three times. Although no evidence has been found of any marriage certificates, her first husband is usually said to have been Will Weldon whom she married in the early 1920s. Her second husband was guitarist and mandolin player Joe McCoy (aka Kansas Joe McCoy) whom she married in 1929. They filed for divorce in 1934, with McCoy’s jealousy of Minnie’s rise to fame and success often being said to be the reason. In 1939, she met guitarist Earnest Lawlars (aka Little Son Joe). He became her new musical partner and they married shortly thereafter. Son Joe dedicated songs to her including “Key to The World” in which he addresses her as “the woman I got now” and calls her “the key to the world.” Minnie was also reported to have lived with a man known as “Squirrel” in the mid- to late 1930s.
Minnie was not religious and rarely went to church; the only time she was reported to have gone to church was to see a Gospel group perform. While she was baptised shortly before she died, this was probably done to please her sister Daisy Johnson. The home she once lived in still exists at 1355 Adelaide Street in Memphis, Tennessee.
Memphis Minnie has been described as “the most popular female country blues singer of all time”, while Big Bill Broonzy said that she could “pick a guitar and sing as good as any man I’ve ever heard.” Minnie lived to see her reputation revived in the 1960s as part of the general revival of interest in the blues. She was an influence on later singers such as Big Mama Thornton and Jo Ann Kelly, and was inducted into the Blues Foundation‘s Hall of Fame in 1980.
“Me and My Chauffeur Blues” was recorded by Jefferson Airplane on their debut album Jefferson Airplane Takes Off, with Signe Anderson as lead vocalist. “When the Levee Breaks“, a 1929 Memphis Minnie and Kansas Joe McCoy song, was covered (with slightly altered lyrics and a different melody) by Led Zeppelin and released in 1971 on their fourth album.
SongsMain article: List of Memphis Minnie songs
Year Album Genre Label Songs 1982 The Best of Memphis Minnie Vol. 1 1929-1938 Blues Earl ”’Frisco Town”, “Bumble Bee”, “Grandpa and Grandma Blues”, “Garage Fire Blues”, and more 1988 I Ain’t No Bad Gal Blues Portrait “You Need A Friend”, “Can’t Afford To Lose My Man”, “Me and My Chauffeur Blues”, “Looking The World Over”, and more 1997 Me & My Chauffeur 1935–1946with Little Son Joe Blues Epm Musique “Hoodoo Lady”, “Hot Stuff”, “My And My Chauffeur Blues”, “My Baby Don’t Want Me No More”, and more 2000 Pickin’ the Blues with Kansas Joe McCoy Blues Culture Press “Bumble Bee”, “When The Levee Breaks“, “Joe Louis Strut”, “Crazy Cryin’ Blues”, “Picking The Blues”, “Ma Rainey”, and more 2008 Memphis Minnie & Kansas Joe – Early Recordings (1929-1936) Blues Autogram ”Goin’ Back To Texas”, “I’m Talkin About You”, “Bumble Bee”, “I’m Going Back Home”, and more unknown Gonna Take The Dirt Road Home: Memphis Minnie In The Forties Blues Origin Jazz Library ”Blue Monday Blues”, “Moaning Blues”, “Shout The Boogie”, “Hold Me Blues”, and more unknown City Blues Blues Aldabra Records ”Dirty Mother For You”, “Keep On Goin’”, “Jockey Man Blues”, “He’s In The Ring”, and more unknown Travelling Blues Blues Aldabra Records ”Going Back To Texas”, “Frisco Town”, “Bumble Bee”, “She Wouldn’t Give Me None”, and more
Year Title Genre Label 1964 Blues Classics By Memphis Minnie blues Blues Classics c. 1967 Vol. 2 Early Recordings With Kansas Joe McCoy blues Blues Classics 1968 Blind Willie McTell And Memphis Minnie – Love Changin’ Blues blues Biograph Records 1973 1934-1941 blues Flyright Records 1973 1941-1949 blues Flyright Records 1977 1936-1949 Hot Stuff blues Magpie Records 1982 World Of Trouble blues Flyright Records 1983 Moaning The Blues blues MCA Records 1984 In My Girlish Days 1930-1935 blues Travelin’ Man 1987 1930-1941 blues Old Tramp 1988 I Ain’t No Bad Girl blues CBS 1991 Hoodoo Lady 1933-1937 blues Columbia 1994 In My Girlish Days blues Blues Encore 1996 Let’s Go To Town blues Orbis 1997 Queen Of The Blues blues Columbia 1997 The Queen Of The Blues 1929-1941 blues Frémeaux & Associés 2000 Pickin’ The Blues blues Catfish Records 2003 Me And My Chauffeur Blues blues Proper Records Ltd. 2007 Complete Recorded Works In Chronological Order – Volume 1 – 10 January To 31 October 1935 blues Document Records unknown Ma Rainey / Memphis Minnie – Night Time Blues blues History
- Listen to “When the Levee Breaks” at the “Internet Archive” (archive.org)
- Delta Blues Bio and Samples of “Bumble Bee Blues” and “Soo Cow Soo”
- Find A Grave Memorial
- Mount Zion memorial Fund
Published on Apr 21, 2014
” From the album ”The London Muddy Waters Sessions” 1972
”Who’s Gonna Be Your Sweet Man When I’m Gone”
”Key To The Highway”
”I’m Gonna Move To The Outskirts Of Town”
*Disclaimer: All audio & visual parts in my videos are the sole property of their respective owners.
The videos are purely for entertainment and recreational purposes.
No Copyright infringement intended!
All rights go to their rightful owners.
I do not own the rights of the music. “
Uploaded on Oct 25, 2006
” Thin Lizzy playing Don’t Believe A Word live on The Old Grey Whistle Test,
the band members Phil Lynott, Gary Moore, Scott Gorham & Cozy Powell.”
” 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
” Moore started performing at a young age, having picked up a battered acoustic guitar at the age of eight. He got his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed. He moved to Dublin in 1968 at the age of 16. His early musical influences were artists such as Albert King, Elvis Presley, The Shadows and The Beatles. Later, having seen Jimi Hendrix and John Mayall’s Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.
Moore’s greatest influence in the early days was guitarist Peter Green of Fleetwood Mac who was a mentor to Moore when performing in Dublin. Green’s continued influence on Moore was later repaid as a tribute to Green on his 1995 album Blues for Greeny, an album consisting entirely of Green compositions. On this tribute album, Moore played Green’s 1959 Les Paul Standard guitar which Green had lent to Moore after leaving Fleetwood Mac. Moore ultimately purchased the guitar, at Green’s request, so that “it would have a good home”.
While less popular in the US, Moore’s work “brought substantial acclaim and commercial success in most other parts of the world – especially in Europe”. Throughout his career, Moore was recognised as an influence by many notable guitarists including Vivian Campbell, Patrick Rondat, John Norum, Paul Gilbert, Gus G, Slash, Orianthi, Joe Bonamassa, Adrian Smith, Doug Aldrich, Zakk Wylde, Randy Rhoads, John Sykes and Kirk Hammett.
He collaborated with a broad range of artists including Phil Lynott, George Harrison,Trilok Gurtu, Dr. Strangely Strange, Colosseum II, Travelling Wilburys, Albert Collins,Jimmy Nail, Mo Foster, Ginger Baker, Jack Bruce, Jim Capaldi, B.B. King, Bob Dylan,Vicki Brown, Cozy Powell, Rod Argent, the Beach Boys, Ozzy Osbourne, Paul Rodgers, Keith Emerson, Roger Daltrey, Albert King and together with Colosseum II with Andrew Lloyd Webber on the composer’sVariations album in 1978. He experimented with many musical genres, including rock, jazz, blues, country, electric blues, hard rock and heavy metal.
In 1968, aged 16, Moore moved to Dublin to join the group Skid Row with Noel Bridgeman and Brendan “Brush” Shiels. It was with this group that he earned a reputation in the music industry, and his association with Phil Lynott began.“
” Skid Row would go on to issue several singles and albums (including 1970’s Skid and 1971’s 34 Hours), and although the group mounted a few tours of Europe and the U.S., it failed to obtain breakthrough commercial success, leading to Moore‘s exit from the group in 1972.Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio’s debut album, 1973’s Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin Lizzy. Moore‘s initial tenure in Lizzy proved to be short-lived, however, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell‘s 1975 release, Gramaphone Record), before joining up with a prog rock/fusion outfit, Colosseum II.
” But once more, Moore‘s tenure in his latest outfit was fleeting; he appeared on only three recordings (1976’s Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.”
” Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists’ recordings — Andrew Lloyd Webber’s Variations, Rod Argent’s Moving Home, and Gary Boyle’s Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May of 1979, the bluesy ballad “Parisienne Walkways,” and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore’s exceptional guitar skills, check out the album’s epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell’s solo release, Over the Top, in addition to forming a new outfit, G Force, which would only remain together for a lone self-titled release in 1980.”
” In the 1980s Gary established his reputation as one of the top guitarists on the heavy metal scene with a series of rock albums that showcased his skill. Kirk Hammett of Metallica, who cites Gary as one of his top 5 influences, sums up Gary’s style of playing very well: “Gary’s technique was very modern, but his guitar style was very blues-based. His phrasing was very, very blues-based. He played long, sustained notes coupled with really super fast-picked notes and he had a great legato style“.
” In 1990, Moore returned to his blues roots with ‘Still Got the Blues’, with contributions from Albert King, Albert Collins and George Harrison. The album was well received by fans and was his biggest seller. He stayed with the blues format until 1997, when he decided to experiment with modern dance beats on Dark Days in Paradise; this left many fans, as well as the music press, confused. With Back to the Blues, Moore return to his tried and tested blues format in 2001. In 2002 he got back to more of a hard rocking style with the album Scars. He also returned to playing some of his metal-period material in the 2003 Monsters of Rock Tour. Then he continued on with the blues rock style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and Bad For You Baby (2008).”
” The, Back To The Blues’ (2001) album saw him revisit The Blues with renewed vigour and determination, after the more experimental ‘Dark Days In Paradise’ (1997) and ‘A Different Beat’ (1999) albums. A ten-track collection that mixed excellent Moore originals, with gritty and intense covers of standards. But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what had to be his heaviest collection of songs since the late 1980’s, once again forcing people to reassess any opinions and preconceptions they might have had of him.”
” That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form ‘Scars’, a true power trio in every respect. The ‘Scars’ album was completed in early 2002 and that line-up, then went on to record the ‘Live at the Monsters of Rock’ (2003) live CD and DVD, which featured the band’s set as performed on two separate nights on the UK Tour in May 2003. That live set encompassed a diverse range of material, from across Gary’s playing career.”
” 2004 saw possibly the rawest album yet, with ‘Power of the Blues’. The 10-track set, recorded mostly live in the studio, ranged from the hard rock/blues of the title track, via the upbeat swing of “Can’t find my baby”, to the haunting “Torn Inside”.
” Taking time out in August 2005, for a brief reunion with former Thin Lizzy band members, for a one off concert in Dublin, to mark the occasion of Phil Lynott’s birth. The evening was filmed for the 2006 DVD release, ‘Gary Moore and Friends, One Night in Dublin, A Tribute to Phil Lynott’.
” With his 2007 studio album ‘Close As You Get’, Gary continued in a direction not too dissimilar from ‘Old, New, Ballads, Blues’, released in 2006. Mixing original tunes with some interesting Blues covers that Gary had rediscovered, whilst researching for his award winning radio series, “Blues Power”, on Planet Rock (UK based digital/internet “radio” station). September 2008 saw the release of what would turn out to be Gary’s last studio album, “Bad for you Baby”. Again, a powerful collection of tracks, of original material and selected blues covers. After being on the road for most of 2008 and into 2010 with the “Blues” line up of the touring band. Gary returned from a tour of Russia and the Far East, and decided to reunite with his old sparring partner from the rock line up’s of the 1980’s, Neil Carter. The plan was to put together a “Rock” line up and dust off a selection of tracks from the mid to late 1980’s.”
“Adding Jon Noyce, (ex Jethro Tull/Sessions) on bass, some one who was also part of the, “One Night in Dublin” Tribute DVD in 2005, and Darrin Mooney (Primal Scream/Sessions) on drums, who was no stranger to the touring and recording line during the late 1990’s and early 2000’s. This line up, hit the road in May of 2010, performing a live set based around a selection of tracks from the “Rock Years” of the 1980’s. This proved to be a real treat for fans, old & new, as many would have not heard Gary play these songs live, either for a very long time, or in many cases, at all. In addition to the older tunes, a number of new “Celtic Rock” style tracks were included in the show, which went down very well with the live audiences. Tracks, which Gary was planning to record and embellish, on his next studio project. A project that was ready to start when Gary returned from a short holiday break.”
” Unfortunately, that was not to be, as Gary passed away in his sleep in the early hours of February 6th, 2011, in Estepona, Spain. After being such a “force of nature” in the guitar-playing firmament, for many years, as part of a professional career that began when he was only 16. He leaves behind a huge hole for many, not just his close family and friends, but guitar fans around the world.”
” Of all the many tributes paid since Gary’s passing, maybe this one, from Gary’s friend and musical collaborator, Don Airey, might sum up the best of most people’s thoughts of Gary: “At the 1984 Donington Festival during the long solo in “Empty Rooms” the previously restive crowd went so quiet, you could hear a pin drop – everyone back and behind stage stopped whatever they were doing and just stood to listen open-mouthed. His artistry touched thousands of people over the years, not least those of us lucky enough to have shared a stage or a recording studio with him. Sleep tight old mate, you’ll be sorely missed.” “
1952 – 2011
P.I. Records 1973
Gary Boyle Featuring: Gary Moore, Robert Awhai*, Kenny Shaw* – Electric Glide ◄ (5 versions)
Gull 1978 MCA Records, MCA Records, MCA Records 1978 Virgin 1982 Virgin 1983 Virgin 1983 Jet Records 1983 10 Records 1984 Castle Classics 1984
(LP, Album + 12″)
10 Records 1984 10 Records 1985 Victoria, Jet Records 1987 Raw Power 1987 10 Records 1987 Tring International PLC 1987 MCA Records 1988 Virgin, Virgin 1989 Virgin, Virgin 1990
Skid Row (2) Feat. Gary Moore – 34 Hours (CD, Album, RE)
Repertoire Records 1990 Virgin, Virgin 1992 Virgin, Virgin 1993 Virgin 1995 King Biscuit Flower Hour Records 1995 Virgin 1997 Raw Power 1999
(2xCD, Album, RM, RE, Dig)
Axe Killer Records 2000
Sanctuary Records 2001 Sanctuary Records 2002 Sanctuary Records 2003
Sanctuary Records 2004 Eagle Records 2006 Eagle Records, Eagle Records 2007 Eagle Records 2008
Eagle Records, Eagle Records 2009
Eagle Records, Eagle Records 2011 Eagle Records 2012
Gary Boyle Featuring: Gary Moore, Robert Awhai*, Kenny Shaw* – Electric Glide (CD, Album, RE, RM)
Esoteric Recordings 2012
2002 ZZ TOP & GARY MOORE LIVE
Robert William Gary Moore
April 4th, 1952 – February 6th, 2011
Remembered today and everyday……
” Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug’s Corner in neighboring Issaquena County in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians’ union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. Muddy’s gravestone gives his birth year as 1915.”
” Muddy’s grandmother, Della Grant, raised him after his mother died shortly following his birth. Della gave the boy the nickname “Muddy” at an early age because he loved to play in the muddy water of nearby Deer Creek. Muddy later changed it to “Muddy Water” and finally “Muddy Waters”.
The shack where Muddy Waters lived in his youth on Stovall Plantation is now located at the Delta Blues Museum in Clarksdale, Mississippi. He started out on harmonica, but by age seventeen he was playing the guitar at parties, emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson.[page needed]“
” On November 20, 1932, Muddy married Mabel Berry; Robert Nighthawk played guitar at the wedding, and the party reportedly got so wild the floor fell in. Mabel left Muddy three years later when Muddy’s first child was born; the child’s mother was Leola Spain, sixteen years old (Leola later used her maiden name Brown), “married to a man named Steven” and “going with a guy named Tucker”. Leola was the only one of his girlfriends with whom Muddy would stay in touch throughout his life; they never married. By the time he finally cut out for Chicago in 1943, there was another Mrs. Morganfield left behind, a girl called Sallie Ann.“
“Growing to manhood there, in the very heart of the region that had spawned this magnificent music, Waters was drawn early to its stark, telling, expressive power. He had been working as a farm laborer for several years when at thirteen he took up the harmonica, the instrument on which many blues performers first master the music’s rudiments. Four years later he made the switch to guitar. “You see, I was digging Son House and Robert Johnson.”
” The two were the undisputed masters of the region’s characteristic “bottleneck” style of guitar accompaniment. With this technique the Delta bluesman could utilize the guitar as a perfect extension of his voice, the sliding bottleneck matching the dips, slurs, sliding notes and all the tonal ambiguity of the voice as it is used in singing the blues.Within a year, Waters recalled, he had mastered the bottleneck style and the jagged, pulsating rhythms of Delta guitar. He had learned to sing powerfully and expressively in the tightly constricted, pain-filled manner that characterized the best Delta singers.”
” By the time a team of Library of Congress field collectors headed by Alan Lomax visited and recorded Waters for the Library’s folksong archives in 1941 (they were looking for Robert Johnson at the time, unaware of his death three years earlier), returning to record him further the following year, he had had several years’ local performing experience behind him.Providing the musical impetus for dancers at rough-and-tumble back country dances, in juke joints, and at picnics, houseparties and other rural entertainments had sharpened the young bluesman’s vocal and instrumental abilities to a keen edge. The recordings show the strikingly distinctive power of the young Waters, both as singer and master of Delta bottleneck guitar.”
” In 1943 Waters—like millions of other African Americans in the South who moved to cities in the North and West during the Great Migration from 1916 to 1970—relocated to Chicago. There he began playing clubs and bars on the city’s South and West sides while earning a living working in a paper mill and later driving a truck. In 1944 he bought his first electric guitar, which cut more easily through the noise of crowded bars. He soon broke with country blues by playing electric guitar in a shimmering slide style. In 1946 pianist Sunnyland Slim, another Delta native, helped Waters land a contract with Aristocrat Records, for which he made several unremarkable recordings. By 1948 Aristocrat had become Chess Records (taking its name from Leonard and Phil Chess, the Polish immigrant brothers who owned and operated it), and Waters was recording a string of hits for it that began with “I Feel Like Going Home” and “I Can’t Be Satisfied.” His early, aggressive, electrically amplified band—including pianist Otis Spann, guitarist Jimmie Rodgers, and harmonica virtuosoLittle Walter—created closely integrated support for his passionate singing, which featured dramatic shouts, swoops, and falsetto moans. His repertoire, much of which he composed, included lyrics that were mournful (“Blow Wind Blow,” “Trouble No More”), boastful (“Got My Mojo Working,” “I’m Your Hoochie Coochie Man”), and frankly sensual (the unusual 15-bar blues “Rock Me”). In the process Waters became the foremost exponent of modern Chicago blues.”
” Tours of clubs in the South and Midwest in the 1940s and ’50s gave way after 1958 to concert tours of the United States and Europe, including frequent dates at jazz, folk, and blues festivals. Over the years, some of Chicago’s premier blues musicians did stints in Waters’s band, including harmonica players James Cotton and Junior Wells, as well as guitarist Buddy Guy. Toward the end of his career, Waters concentrated on singing and played guitar only occasionally. A major influence on a variety of rock musicians—most notably the Rolling Stones (who took their name from his song “Rollin’ Stone” and made a pilgrimage to Chess to record)—Waters was inducted into the Rock and Roll Hall of Fame in 1987.”
” By the end of the ’50s, while Waters was still making fine music, his career was going into a slump. The rise of rock & roll had taken the spotlight away from more traditional blues acts in favor of younger and rowdier acts (ironically, Waters had headlined some of Alan Freed‘s early “Moondog” package shows), and Waters‘ first tour of England in 1958 was poorly received by many U.K. blues fans, who were expecting an acoustic set and were startled by the ferocity of Waters‘ electric guitar. Waters began playing more acoustic music informed by his Mississippi Delta heritage in the years that followed, even issuing an album titled Muddy Waters: Folk Singer in 1964. However, the jolly irony was that British blues fans would soon rekindle interest in Waters and electric Chicago blues; as the rise of the British Invasion made the world aware of the U.K. rock scene, the nascent British blues scene soon followed, and a number of Waters‘ U.K. acolytes became international stars, such as Eric Clapton,John Mayall, Alexis Korner, and a modestly successful London act who named themselves after Muddy‘s 1950 hit “Rollin’ Stone.”
” While Waters was still leading a fine band that delivered live (and included the likes of Pinetop Perkins on piano and James Cotton on harmonica), Chess Records was moving more toward the rock, soul, and R&B marketplace, and seemed eager to market him to white rock fans, a notion that reached its nadir in 1968 with Electric Mud, in which Waters was paired up with a psychedelic rock band (featuring guitarists Pete Cosey and Phil Upchurch) for rambling and aimless jams on Waters‘ blues classics. 1969’s Fathers and Sons was a more inspired variation on this theme, withWaters playing alongside reverential white blues rockers such as Mike Bloomfield and Paul Butterfield; 1971’s The London Muddy Waters Sessions was less impressive, featuring fine guitar work from Rory Gallagher but uninspired contributions from Steve Winwood, Rick Grech, and Georgie Fame.”
” Curiously, while Chess Records helped Waters make some of the finest blues records of the ’50s and ‘60s, it was the label’s demise that led to his creative rebirth. In 1969, the Chess Brothers sold the label to General Recorded Tape, and the label went through a long, slow commercial decline, finally folding in 1975. (Waters would become one of several Chess artists who sued the label for unpaid royalties in its later years.) Johnny Winter, a longtime Waters fan, heard the blues legend was without a record deal, and was instrumental in getting Waters signed to Blue Sky Records, a CBS-distributed label that had become his recording home.”
” Winter produced the sessions for Waters‘ first Blue Sky release, and sat in with a band comprised of members of Waters‘ road band (including Bob Margolin and Willie “Big Eyes” Smith) along with James Cotton on harp and Pinetop Perkins on piano. 1977’s Hard Again was a triumph, sounding as raw and forceful as Waters‘ classic Chess sides, with a couple extra decades of experience informing his performances, and it was rightly hailed as one of the finest albums Waters ever made while sparking new interest in his music. (It also earned him a Grammy award for Best Traditional or Ethnic Folk Recording.) “
” Waters also capitalized on the folk-music craze of the late Fifties and early Sixties with a series of albums that found him assaying acoustic blues on such albums as Muddy Waters Sings Big Bill (a tribute to rural bluesman Big Bill Broonzy, released in 1960), Muddy Waters, Folk Singer (1964) and The Real Folk Blues (1966). Less successful were attempts to contemporize his sound with such ill-advised efforts as “Muddy Waters Twist” (a 1962 single) and Electric Mud (an album of psychedelic blues from 1968). More satisfying by far were a couple of albums – Fathers and Sons (1969) and The London Muddy Waters Sessions (1972) – that found Waters accompanied by such vanguard rock musicians as Mike Bloomfield and Eric Clapton. His thirty-year tenure with Chess Records ended in 1975 with the release of The Muddy Waters Woodstock Album. From here, he moved to the Blue Sky label (a Columbia subsidiary). “
” Waters’ audience grew exponentially following his electrifying performance in The Last Waltz, a film documentary (produced by Martin Scorsese) of The Band’s farewell concert. Staged at San Francisco’s Winterland ballroom, the Thanksgiving 1976 event was a star-studded affair. Water’s scalding rendition of “Mannish Boy” – on which he was accompanied by The Band and Paul Butterfield on harmonica – was an unforgettable highlight. Subsequent to that, he kept the momentum going with a series of uncompromising albums for Blue Sky that were produced by longtime fan Johnny Winter. These included Hard Again (1977), I’m Ready (1978), Muddy Mississippi Waters Live (1979) and King Bee (1981). All were critical and popular successes. “
” In addition to his musical legacy, Waters helped cultivate a great respect for the blues as one of its most commanding and articulate figureheads. Drummer Levon Helm of The Band, who worked with him on The Muddy Waters Woodstock Album and at The Last Waltz, had this to say about him in a Goldmine magazine interview: “Muddy taught us to take things in context, to be respectful, and to be serious about our music, as he was. He showed us music is a sacred thing.”
” Waters, who remained active till the end, died of a heart attack in 1983. He was 68 years old. In the years since his death, the one-room cedar shack in which he lived on the Stovall Plantation has been preserved as a memorial to Waters’ humble origins”
Chess 1960 Chess 1960 Pye International 1964 Testament Records 1966 Chess 1966 Chess 1967 Checker 1967 Checker, Chess 1967 Cadet Concept Records 1968 Cadet Concept Records 1969 Chess 1969 Chess 1969
Bo Diddley, Little Walter, Muddy Waters – Super Blues (LP, Album)
Bellaphon 1969 Chess 1971
Syndicate Chapter 1971
Python 1972 Chess 1973 Muse Records 1973 Chess 1973 Chess 1974 Chess 1974 Chess 1975 Blue Sky 1977 Blue Sky 1978
Blue Sky 1979
Cleo 1980 Blue Sky 1981 Chess 1982 Blue Sky 1983 Blue Moon 1984 Showcase 1985
France’s Concert 1988
France’s Concert 1988
Roots (6) 1990
Roots (6) 1990 Last Call Records 1992 Orbis 1994
Otis Spann With Muddy Waters & His Band* – Live The Life (CD, Album)
Testament Records 1997
Champion Jack Dupree / Muddy Waters – Me And My Mule (CD, Album)
TKO Collectors 1999
Past Perfect Silver Line 2000
Blind Pig Records 2008 Chess 2009
(CD, Mud + 2xCD, Rol + 3xCD, I’m + 4xCD, The + 5xDV)
Proper Records Ltd. 2009
(CD, Album, Dig)
Music Avenue 2010
(LP, Ltd, RM, 180)
World Music Network 2011 Eagle Vision 2012
Rest In Peace Muddy Waters
” Eric Patrick Clapton was born in Ripley, Surrey, England, the son of 16-year-old Patricia Molly Clapton (b. 7 January 1929 d. March 1999) and Edward Walter Fryer (21 March1920 – 15 May 1985), a 25-year-old soldier from Montreal, Quebec. Fryer shipped off to war prior to Clapton’s birth and then returned to Canada. Clapton grew up with his grandmother, Rose, and her second husband, Jack Clapp, who was stepfather to Patricia Clapton and her brother Adrian, believing they were his parents and that his mother was actually his older sister. The similarity in surnames gave rise to the erroneous belief that Clapton’s real surname is Clapp (Reginald Cecil Clapton was the name of Rose’s first husband, Eric Clapton’s maternal grandfather). Years later, his mother married another Canadian soldier and moved to Germany, leaving young Eric with his grandparents in Surrey.
Clapton received an acoustic Hoyer guitar, made in Germany, for his thirteenth birthday, but the inexpensive steel-stringed instrument was difficult to play and he briefly lost interest. Two years later Clapton picked it up again and started playing consistently. Clapton was influenced by the blues from an early age, and practised long hours to learn the chords of blues music by playing along to the records. He preserved his practice sessions using his portable Grundig reel-to-reel tape recorder, listening to them over and over until he felt he’d got it right.
After leaving Hollyfield School, in Surbiton, in 1961, Clapton studied at the Kingston College of Art but was dismissed at the end of the academic year because his focus remained on music rather than art. His guitar playing was so advanced that by the age of 16 he was getting noticed. Around this time Clapton began busking aroundKingston, Richmond, and the West End. In 1962, Clapton started performing as a duo with fellow blues enthusiast David Brock in pubs around Surrey. When he was seventeen years old Clapton joined his first band, an early British R&B group, “The Roosters”, whose other guitarist was Tom McGuinness. He stayed with this band from January through August 1963. In October of that year, Clapton did a seven-gig stint with Casey Jones & The Engineers. “
” By the time Eric Clapton launched his solo career with the release of his self-titled debut album in mid-1970, he was long established as one of the world’s major rock stars due to his group affiliations — the Yardbirds, John Mayall’s Bluesbreakers, Cream, and Blind Faith — which had demonstrated his claim to being the best rock guitarist of his generation. That it took Clapton so long to go out on his own, however, was evidence of a degree of reticence unusual for one of his stature. And his debut album, though it spawned the Top 40 hit “After Midnight,” was typical of his self-effacing approach: it was, in effect, an album by the group he had lately been featured in, Delaney & Bonnie & Friends.
Not surprisingly, before his solo debut had even been released, Claptonhad retreated from his solo stance, assembling from the D&B&F ranks the personnel for a group, Derek & the Dominos, with whom he played for most of 1970 and recorded the landmark album Layla and Other Assorted Love Songs. Clapton was largely inactive in 1971 and 1972, due to heroin addiction, but he performed a comeback concert at the Rainbow Theatre in London on January 13, 1973, resulting in the album Eric Clapton’s Rainbow Concert (September 1973). But Claptondid not launch a sustained solo career until July 1974, when he released461 Ocean Boulevard, which topped the charts and spawned the number one single “I Shot the Sheriff.” “
” A January 1973 comeback concert at London’s Rainbow Theatre re-introduced him to public performing, but his solo career really commenced in earnest a year later with 461 Ocean Boulevard. Recorded in Miami, it was influenced by the mellower likes of J.J. Cale and Bob Marley. Striking a chord with the public, 461 Ocean Boulevard topped the album charts in 1974. Meanwhile, Clapton’s cover of “I Shot the Sheriff,” originally by Bob Marley and the Wailers, helped introduced reggae to a mass audience. Working with a steady band that included guitarist George Terry, Clapton pursued a mellow, song-oriented course that accentuated his husky, laid-back vocals. His Seventies output, including such albums as There’s One in Every Crowd (1975) and No Reason to Cry (1976) has been largely underrated and is ripe for rediscovery. Clapton again struck commercial paydirt in 1977 with Slowhand, a strong set that included Clapton’s definitive version of J.J. Cale’s “Cocaine” and the #3 hit “Lay Down Sally.”
Clapton remained a prolific artist throughout the Eighties, releasing a live double album that reached #2 (Just One Night), cutting two albums (Behind the Sun and August) with Phil Collins as producer, and launching his own label, Duck Records, in 1983, with one of his stronger studio efforts, Money and Cigarettes. In January 1987, he undertook the first of what would become an annual series of multi-night stands at London’s Royal Albert Hall. In 1992, his career received a major boost from his appearance on MTV’s Unplugged series. Returning to his roots on the heels of that acoustic folk-blues set, Clapton next cut a long-promised blues album, From the Cradle (1994). Throughout the Nineties, he continued to amass hits–no mean feat, given the shifting musical climate–including “Tears in Heaven,” a memorable elegy for his late son Conor; “Change the World,” a beatbox-driven collaboration with R&B artist/producer Babyface that won a Grammy for Record of the Year; and “My Father’s Eyes,” a ballad from his 1998 album Pilgrim.”
Most recently, Eric Clapton has organized a benefit concert in honor of Hubert Sumlin, the great bluesman, to take place at the Apollo Theater in New York on February 24, 2012. He will be joined by Jeff Beck, Keb Mo, Levon Helm, and Derek Trucks among others. Clapton is known to sponsor an array of charitable events and concerts. He has also established a rehabilitation clinic in Monserrat to help those with substance abuse problems.
‘Clapton’ was released on September 27, 2010 by Reprise.
A live album titled Play The Blues Live At Lincoln Center performed with Wynton Marsellis was released on September 13, 2011 by Reprise.
Early 2013 saw the release of ‘Old Sock’, an album of 10 cover songs and two new originals, which was met with mixed reviews, some saying that it was lazy and unnecessary (“little commitment to the music here and even less enthusiasm”) whilst others appreciated the mastery he still exhibits over his craft (“winding down a legendary career with his typical class, reverence to the past and master’s touch”).
Eric Clapton is highly regarded as a premier musician, and continues to remain a force in music today.”
” We’re proud to announce the latest and greatest music event to capture the pulse of America’s wildest city! We invite you and your gang to join us for:
• Four nights of Amazing music & friends
• Four nights in the fabled Riviera Hotel & Casino
• No port-o-potties! A festival lineup in an upscale environment.
• No long treks between stages! Everything is an elevator ride away.
• The most reasonably priced food and drinks on the strip
• Cheap airfare from anywhere on earth
• VIP & “Baller” packages for those who go all out!
This one is not to be missed, folks… Gather your crew and get bent with us!”
See the links to decide on the package that is right for you . bear in mind that the package deals through the Riviera are the only way to see the shows . There will be no individual tickets will be sold .
” Ready to Attend? Big Blues Bender is sold as “Packages” that include your accommodations as well as your event pass. Please note that this is the only way to attend the Bender. We want to protect your vacation investment, and Bender security will ensure only ticketed guests will enter our venues. Do not attempt to book accommodations at another hotel nor directly via the Riviera’s website, as any reservation made elsewhere is not transferable to Big Blues Bender.”
All shows are held within the confines of the Riviera Resort and Casino and so there is no need to travel beyond the nearest elevator to see , hear and experience some of the greatest blues acts alive and performing today . With this lineup it is a bluesman’s nirvana . You’ll think you’ve died and gone to the Delta … Sign up now before it’s too late .
Who could pass up the chance to see the likes of BB King , Tab Benoit , Cocoa Montoya , Lil’ Ed & The Blues Imperials , Rick Estrin & The Nightcats , Charlie Musselwhite , George Thorogood , Ana Popovich and so many more Blues Giants all in one place ? You can follow the news about the Big Blues Bender at the website , on Facebook or follow them on Twitter .
” More than a million Rio Carnival revellers laid aside bitterness at Brazilian leaders to join wild festivities Saturday in what has been dubbed “the greatest show on Earth.”
” The Rio tourist board said 1.3 million people joined the fray to cavort as the Marvelous City’s oldest bloco or street party group Cordao da Bola Preta danced to a raucous samba beat. A total of four million are accepted during the entire five-day event.”
” But there was a reminder of some of Brazil’s social problems as festivities in the northern city of Salvador were tainted by the fatal shooting of a young man.”
” Rio’s flamboyantly dressed residents were adamant that, for now, they had spent enough time demonstrating — and wanted to let loose instead.”
“Carnival is carnival. Celebrate! Protests can wait — at least for now,” shouted Christophe Land, one of 50 men decked out in black “Spiderman” outfits.”
Published on Aug 5, 2010
” You gotta see Pinetop’s surprise entrance! He is in rare form! Mitch Woods gathers his favorite piano pounders for a boogie woogie blowout at Yoshi’s, Oakland, CA. Nov 19, 2009. Pinetop Perkins is featured with Mitch Woods, Steve Lucky and Caroline Dahl.
You gotta see Pinetop’s surprise entrance on this! it is hysterical.
For more info go to http://www.mitchwoods.com”;
Published on Apr 1, 2013
” Es gab mal wieder ein kleines Boogiefestival mit Stefan Ulbricht, Moritz Schlömer und Chris Conz.
Veranstaltet wurde das Ganze von der Fa. Klavierbau Lintzen&Stöckmann in in der Schreinerei Schmitz in 53639 Königswinter-Rauschendorf, zur Stärkung gab es kleine Appetitshäppchen inkl. Bier vom Fass, Danke noch mal an die Veranstalter.Hier nun mal die Finalrunde wo alle drei mal einzeln und zusammen die Tasten bearbeiten, viel Spass.”
Google’s translation :
Published on April 1, 2013
” There was again a little Boogie Festival with Stefan Ulbricht, Moritz Schlömer and Chris Conz.
Was organized the whole thing from the company pianos Lintzen & Stöckmann in the carpentry Schmitz in 53639 King Winter Rauschendorf, to strengthen there were small appetizers including beer on tap, Thanks again to the organizers. Here happens to be the final round where all three times individually and collectively edit the keys, lots of fun.”