You've Got What I Want - Blind Blake ft. Irene "Chocolate Brown" Scruggs

Irene Scruggs (December 7, 1901 – probably July 20, 1981) was an American Piedmont blues and country blues singer, who was also billed as Chocolate Brown and Dixie Nolan. She recorded songs such as "My Back to the Wall" and "Good Grindin", and variously worked alongside Clarence Williams, Joe "King" Oliver, Lonnie Johnson, Little Brother Montgomery, Albert Nicholas, and Kid Ory. Scruggs achieved some success but today remains largely forgotten Scruggs originated in rural Mississippi, but it is believed that she was raised in St. Louis, Missouri. Mary Lou Williams recalled Scruggs being a singer of some standing when Williams travelled to St. Louis in vaudeville. Scruggs was hired by the revue company, and her career there sometimes outshone her work as a recording artist and nightclub singer. Nevertheless, Scruggs got to sing with a number of Joe "King" Oliver's bands that played in St. Louis in the mid 1920s. Scruggs was later accompanied by Blind Blake. In her live shows her song, "Itching Heel", provided the platform for interplay between the Scruggs' singing and Blake's guitar work. "He don't do nothing but play on his old guitar," Scruggs sangs, "While I'm busting suds out in the white folks' yard." She first recorded in 1924, utilising Clarence Williams as her pianist on Okeh Records. In 1926 she reignited her working association with Oliver. Two of the songs that Scruggs wrote, "Home Town Blues" and "Sorrow Valley Blues", were both recorded by Oliver. She recorded again for Okeh in 1927, this time with Lonnie Johnson. Scruggs formed her own band in the late 1920s, and appeared regularly performing around the St. Louis area. Using the pseudonym, Chocolate Brown, she recorded further tracks with Blind Blake, and to avoid contractual problems also appeared billed as Dixie Nolan. By the early 1930s, Little Brother Montgomery took over as her accompanist on both recordings and touring work. Scruggs also sang and recorded more sexually explicit material. "Good Grindin'" and "Must Get Mine in Front" (1930) were the better known examples of her dirty blues, and some of her work appeared in The Nasty Blues, published by the Hal Leonard Corporation. Scruggs only recorded a small batch of songs, and her recording career finished around 1935. In the 1940s, Scruggs left the United States for Europe, first settling in Paris, and later relocating to Germany. In the 1950s, Scruggs undertook a number of BBC Radio broadcasts. It is thought that she died in Germany, although no definitive information has been unearthed If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Alphabet Blues - Rod Piazza & The Mighty Flyers

Rod Piazza (born December 18, 1947, Riverside, California) is an American blues harmonica player and singer. He has been playing with his band The Mighty Flyers since 1980 which he formed with his pianist wife Honey Piazza. Their boogie sound combines the styles of jump blues, West Coast blues and Chicago blues. Piazza grew up in Southern California, where he studied blues records and perfected his harmonica work. He originally started on guitar, an instrument he began playing at the age of six or seven. In the mid 1960s, Piazza formed his first band The House of DBS, which later changed its name to the Dirty Blues Band. The band signed with ABC-Bluesway and released two albums in 1967 and 1968. The band broke up in 1968, and Piazza formed Bacon Fat that year. Piazza's idol and mentor, George "Harmonica" Smith joined the band and they had a "dual harp" sound. Bacon Fat released two albums the following two years. Piazza left and worked in other bands before going solo in 1974. He formed the Chicago Flying Saucer Band the following year, which later evolved into the Mighty Flyers. The band recorded their first album in 1980. Piazza started touring and recording as Rod Piazza and the Mighty Flyers Blues Quartet, after the departure of long-time bassist Bill Stuve in the early 2000s. Piazza has recorded twenty-four studio albums between 1967 and 2009, including the live concert DVD Big Blues Party in 2005 (recorded at the Sierra Nevada Brewing Company in Chico, California). In addition, he has appeared as a guest performer on over twenty-one releases since 1968. Between 1995 and 2001, Rick Holmstrom played in the Mighty Flyers. Piazza has toured blues clubs, concert venues and festivals in the US, Canada, United Kingdom, Germany, Japan and Spain, among other countries. He and his wife currently live in Riverside, California. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

C-Jam Blues - Harlem Blues & Jazz Band

Lawrence Lucie (December 18, 1907 – August 14, 2009) was an American jazz guitarist. Lucie was born in Emporia, Virginia. He learned banjo, mandolin, and violin as a child and played with his family at dances. Lucie's father, a barber, also played jazz music. He studied banjo in New York City at the Brooklyn Conservatory of Music, but switched to guitar when he started a professional career. Lucie spent his career as a rhythm guitarist, seldom taking solos. In 1931, he subbed for Freddy Guy of Duke Ellington's band, being the last surviving musician to have played the Cotton Club with Ellington. He then became an original member of Benny Carter's band in 1932. This association lasted through 1934, including the opening of the Apollo Theater, where Carter's was the house band. He also performed with Fletcher Henderson (1934, 1936-39), the Mills Blue Rhythm Band (1934-36), Coleman Hawkins (1940), and Louis Armstrong (1940-44); he was also the best man at one of Armstrong's weddings. He recorded with all of them except Ellington. He can also be found on record with Teddy Wilson and Billie Holiday, Spike Hughes, Putney Dandridge, Big Joe Turner, Red Allen, and Jelly Roll Morton. After the big band era passed, he played in a quartet with his wife Nora Lee King, also a guitarist as well as a singer. In the 1950s he played with Luis Russell, Louie Bellson, and Cozy Cole, in addition to copious session work. Lucie continued to record with his wife for his own label, Toy Records, into the 1980s. Lucie taught at the Borough of Manhattan Community College for three decades, retiring in 2004. He died at age 101, in New York City. At the time of his death, he was the last surviving musician to have recorded with Jelly Roll Morton. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

THE ORIGINAL TUXEDO JAZZBAND

Jeanette Kimball Born: December 18, 1906 in Pass Christian, Louisiana Died: March 29, 2001 in Charleston, South Carolina enjoyed a 70 year career playing piano in traditional jazz bands. Her skills as an accomplished reader combined with her ability to improvise made her an in-demand musician in New Orleans. She was born Jeanette Salvant in the small town of Pass Christian, into a family with French Creole connections. She began taking piano lessons at 7, and began to perform professionally as a teenager, initially in string bands, then in jazz settings. She joined a “society” dance band, Celestin’s Tuxedo Orchestra, in 1926, and toured the south with them, performing for white audiences at dances and carnivals. She married banjoist and guitarist Narvin Kimball, also a member of the band, in 1929, and stopped touring to raise her family in 1935. She used the name Kimball even after her marriage failed, and began to work again in New Orleans in the mid-1940s. She worked with band leaders like Buddy Charles, Herb Leary and Sidney Desvignes, and was the long-standing organist and choir director of the Holy Ghost Catholic Church in the city. She rejoined Papa Celestin when he revived his band in the 1950s, and stayed on when Papa French took over the running of the group. She was a member of the Preservation Hall Jazz Band, and also played with trumpeter Clive Wilson’s Original Camellia Jazz Band. She received the Black Men of Labor Jazz Legacy Award in 1999. THE ORIGINAL TUXEDO JAZZBAND - Recorded 1964 in Germany. This is a fantastic film with this band, and an example of a perfect New Orleans Jazzband. All the musicians play and swing together wonderfully, and the ensemble sound of the three horns is magnificent. Jack Willis - cornet Joseph "Cornbread" Thomas - clarinet, vocal Walden "Frog" Joseph - trombone Jeanette Kimball - piano Albert "Papa" French - banjo (Bandleader) Frank Fields - bass Louis Barbarin - drums TITLES: 1. Eh La-Bas 2. Just A Closer Walk With Thee 3. Didn't He Ramble 4. That's A Plenty

Blues After Hours - Pee Wee Crayton

Connie Curtis Crayton (December 18, 1914 – June 25, 1985), known as Pee Wee Crayton, was an American R&B and blues guitarist and singer. Born in Rockdale, Texas, United States, there are several stories on how Crayton acquired the name Pee Wee. In a Living Blues article in the 1980s, he stated that friend and singer, Roy Brown, gave him the nickname. This makes sense since Brown had a way of making nicknames for many of his friends. It has also been said that his father gave him the nickname as a tribute to a local Texas piano player. Crayton began playing guitar seriously after moving to California in 1935, and settling in San Francisco. While there he absorbed the music of T-Bone Walker, but developed his own unique approach. His aggressive playing contrasted with his smooth vocal style, and was copied by many later blues guitarists. In 1948 he signed a recording contract with Modern Records. One of his first recordings was the instrumental, "Blues After Hours", which reached #1 in the Billboard R&B chart late that year. Its B-side, the pop ballad "I'm Still in Love With You", and the quicker "Texas Hop", were good examples of his work, but his style was of its time and Crayton found it difficult to progress. He went on to record for many other record labels in the 1950s including Imperial in New Orleans, Louisiana, Jamie in Philadelphia and Vee-Jay in Chicago. It is thought he was the first blues guitarist to use a Fender Stratocaster, given to him by Leo Fender. Crayton largely faded from view until Vanguard unleashed his LP, Things I Used to Do, in 1971. After that his profile was raised somewhat; he toured and made a few more albums prior to his death. A longtime resident of Los Angeles, California, Crayton died there of a heart attack in 1985, and was interred in the Inglewood Park Cemetery. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

We Gotta Get Out Of This Place - The Animals

Bryan James "Chas" Chandler (18 December 1938 — 17 July 1996) was an English musician, record producer and manager of several successful music acts. Chas Chandler was born at 35 Second Avenue, Heaton, Newcastle-upon-Tyne. After leaving school, he worked as a turner in the Tyneside shipyards. He learned to play the guitar but became the bass player when he joined the Alan Price Trio in 1962. After vocalist Eric Burdon joined them, the group was renamed The Animals and became one of the most successful R&B bands ever.[citation needed] Chandler's best known bass lines are the opening riffs of their 1965 hits "We Gotta Get Out of This Place" and "It's My Life". Chandler was also the most prominent of the group's backing vocalists and did occasional songwriting with Burdon. After the group split up in late-1966, Chandler turned to becoming a talent scout, artist manager and record producer. It was during his final tour with the Animals in 1966 that Chandler saw a then unknown guitarist play in a New York nightclub. The guitarist went by the name of Jimmy James. In September of that year, Chandler convinced James to go with him to England. During this time, James was renamed Jimi Hendrix. In England, Chandler recruited bassist Noel Redding and drummer Mitch Mitchell. Together with Hendrix, the trio formed The Jimi Hendrix Experience. Chandler became the band's manager and produced their first two albums. He was also instrumental in introducing Hendrix to Eric Clapton. It was through this introduction that Hendrix got the opportunity to play with Clapton and Cream on stage Chandler then went on to manage and produce the English rock band Slade for twelve years, during which time they achieved 6 number one chart hits in the U.K. During this time, Chandler bought IBC Studios which he renamed Portland Recording Studios, after the address of 35 Portland Place, London and ran it for four years till he sold it to Don Arden. Chandler also ran a series of record labels from the studios including Barn Records and Six of the Best, and formed a music publishing agency and management and production companies In 1977 Chandler played with, and recorded, The Animals during a brief reunion, and joined them again for a further revival in 1983, at which point he sold his business interests and became a musician again. During the early 1990s he helped develop Newcastle Arena, a ten-thousand seat sports and entertainment venue that opened in 1995. Chandler had one son, Steffan, from his first marriage. He later married Madeleine Stringer, the 1977 Miss United Kingdom and the sixth runner-up at Miss World 1977, and they had a son, Alex, and two daughters, Elizabeth and Katherine, together. Chandler died of an aortic aneurysm at Newcastle General Hospital, on 17 July 1996, mere days after performing his final solo show. Chandler's former home in Heaton is to be remembered with a black plaque placed on the wall. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

Lonnie Brooks

Lonnie Brooks (born Lee Baker Jr., December 18, 1933) is an American blues singer and guitarist. He was born in Dubuisson, Louisiana, United States. Rolling Stone stated, "His music is witty, soulful and ferociously energetic, brimming with novel harmonic turnarounds, committed vocals and simply astonishing guitar work." The New York Times added, "He sings in a rowdy baritone, sliding and rasping in songs that celebrate lust, fulfilled and unfulfilled; his guitar solos are pointed and unhurried, with a tone that slices cleanly across the beat. Wearing a cowboy hat, he looks like the embodiment of a good-time bluesman." He learned to play blues from his banjo-picking grandfather, but did not think about a professional career until he moved to Port Arthur, Texas in the early 1950s. There he heard live performances by Clarence "Gatemouth" Brown, T-Bone Walker, B.B. King, Long John Hunter and others and began to think about making money from his music. One day, while Brooks was strumming his guitar on his front porch in Port Arthur, Clifton Chenier heard him and offered him a job in his touring band. Embarking on a solo career, he adopted the moniker of Guitar Junior and signed with Lake Charles's Goldband label. His singles for the label included regional hit "Family Rules", which remains a favorite of the swamp pop idiom in south Louisiana and southeast Texas. Other Goldband singles included "Made In The Shade" and "The Crawl" (later recorded by The Fabulous Thunderbirds). In 1960, he moved to Chicago, Illinois. Luther Johnson was already using the name 'Guitar Junior' there, so he adopted the alternative stage name, Lonnie Brooks. In Chicago, he found regular work in the West Side clubs as well as in Gary and East Chicago, Indiana and occasionally in the Rush Street North Side entertainment area. He cut a series of 45s for a variety of labels, including Chess, Chirrup, Mercury, Midas and USA Records, achieving some local radio airplay. He also supported other artists on record and live, including Jimmy Reed. In 1961 he played guitar on the double album, Jimmy Reed at Carnegie Hall. In 1969, he recorded his first album, Broke An’ Hungry, for the Capitol label. It was produced by Wayne Shuler, son of Eddie Shuler, who had founded Goldband Records in Louisiana. In 1974, Brooks participated in a multi-artist tour of Europe, and cut an album entitled Sweet Home Chicago for the French label Black & Blue. When he returned to Chicago, he began playing regularly at Pepper’s Hideout on the Chicago's South Side. There he attracted the attention of Bruce Iglauer, head of the fledgling Alligator Records label, who had previously seen him a number of times at the Avenue Lounge on the city’s West Side. In 1978, Iglauer included four of Brooks’ songs (including three originals) on an anthology series entitled Living Chicago Blues, released by Alligator Records. He was signed to the label, and the following year, he released his album Bayou Lightning on the Alligator label. The album won the 'Grand Prix du Disque Award' from the 1980 Montreux Jazz Festival. While in Montreux, Brooks befriended country star Roy Clark. Clark was impressed with Brooks, and he arranged for an appearance on the country music television program Hee Haw. Since that time, Brooks has recorded exclusively for the Alligator, releasing seven albums as well as shared recordings and compilation appearances. Brooks' style, sometimes described as "voodoo blues", includes elements of Chicago blues, Louisiana blues, swamp pop and rhythm and blues. Other labels have issued pre-1978 recordings by Brooks as well as compilations of Brooks' singles. Following the release of Bayou Lightning, Brooks began touring nationwide as well as returning to Europe. A 1982 trip to Germany resulted in an hour-long Brooks live performance on German television. His 1983 follow-up album was Hot Shot. 1986's Wound Up Tight featured a guest appearance by Brooks' most famous fan, Johnny Winter, on guitar. Rolling Stone took notice of the album, running a six-page feature on Brooks. And in 1987, BBC Radio broadcast an hour-long live performance. By this time, Brooks' teenage son, Ronnie Baker Brooks, was touring with the band. He made his recording debut on his father's Live From Chicago—Bayou Lightning Strikes. Brooks’ 1991 release, Satisfaction Guaranteed, received major media coverage, including features and articles in The Washington Post, The Village Voice, Chicago Tribune, Los Angeles Times, Guitar World, Living Blues, Blues Revue, and many other publications. Brooks spent the summer of 1993 on a national concert tour with B.B. King, Buddy Guy, Koko Taylor, Junior Wells and Eric Johnson. During the Chicago stop of his 1995 “From The Cradle” club tour, Eric Clapton honored Brooks by inviting the bluesman on stage for an impromptu jam at Buddy Guy's Legends club. In 1996, Brooks released Roadhouse Rules. The album was produced in Memphis by Jim Gaines, who also produced Luther Allison, Stevie Ray Vaughan and Santana, and his son Ronnie Baker Brooks appeared again. In 1999, along with fellow Gulf Coast blues veterans Long John Hunter and Phillip Walker (both of whom he had known and played with in the 1950s in Port Arthur), Brooks released Lone Star Shootout. Brooks continues to tour in the U.S. and Europe. His sons, Ronnie Baker Brooks and Wayne Baker Brooks, are also full-time blues entertainers, fronting their own bands and touring extensively in the U.S. and abroad. Wayne Baker Brooks continues to play in his father's band as well. The Brooks' are frequent guest performers at each other's shows and have booked appearances as 'The Brooks Family'. Besides his live and recorded performances, Brooks appeared in the films Blues Brothers 2000 and The Express and in two UK television commercials for Heineken beer. His song "Eyeballin'" was heard in Forever LuLu, and "Got Lucky Last Night" featuring Johnny Winter appeared in John Candy's Masters of Menace. He also co-authored the book Blues for Dummies, along with son Wayne Baker Brooks and music historian, guitarist, and songwriter, Cub Koda. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

Ball And Chain - Big Brother and the Holding Company, Sam Andrew

Sam Houston Andrew III (born 18 December 1941, Taft, California) is an American musician, singer, songwriter, composer, artist and founding member and guitarist of Big Brother and the Holding Company. During his career as musician and composer, Andrew has had three platinum albums and two hit singles. His songs have been used in numerous major motion picture soundtracks and documentaries. As the son of a military father, Andrew moved a great deal as a child. He developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes", and his own weekly TV show, an Okinawan version of American Bandstand. His early influences were Chuck Berry, Bo Diddley, and Little Richard. He also listened to a great deal of Delta blues. His brother Leland Andrew frequently stated his brother was the Benny Goodman of Japan. Shortly after he graduated from high school, his father was transferred to Hamilton Air Force Base in northern California. It was during this period that he started attending classes at the University of San Francisco and got involved in the San Francisco folk music scene of the early 1960s. But it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street. As Big Brother and the Holding Company began to gel, Andrew brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks. Andrew continues today in his original role as musical director of the band. Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second – a top seller – on Columbia Records. Andrew and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history. On September 11, 2001, Andrew was to be presented with a High Times magazine Life Time Achievement award. That day, his flight to New York City was canceled and, instead, received the award the next year. In December 1968, Andrew and Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band. After about nine months and one album, I Got Dem Ol' Kozmic Blues Again Mama!, Andrew returned to Big Brother. After Big Brother stopped performing in 1972, he moved to New York City, where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco, where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987. During the 1990s, in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band, that toured across North America, and the spoken word quartet Theatre of Light, that featured The Vagabond Poet, Tony Seldin, keyboardist Tom Constanten and harpist-pianist Elise Piliwale. Andrew is also Music Director of the play Love, Janis, a biopic based on the life of Janis Joplin, written by Laura Joplin and directed by Randal Myler. Andrew performed at the 40th Anniversary of Woodstock Concert on August 15, 2009 at Bethel Woods, New York. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

Musical Moment Turns Into Beloved Xmas Album

Tim's Unforgettable Christmas with Cootie Spending Christmas with Cootie Stark led to the album of the "Christmas with Cootie," a rousing collection of Holiday songs sung by friends having a great time. Working with these legends and pioneers of the Roots is a blessing, and seeing the spontaneous moments of musical friendship turn into something truly special is always amazing to me. Read about my Christmas with Cootie here. Hope you enjoy it! -- Tim Duffy Etta Baker Photo of the Week by Tim Duffy Diggin: Cool John Ferguson's Classic Holiday Make sure you check out this week's Diggin' over on the website - we can't get enough of Cool Yule this week. Click here to read and listen! Your support ensures Music Maker is able to preserve Southern Roots music, assist elderly artists, and share the music of America with the world. Become a member with your gift today and keep the music alive. Ben Payton - Music Maker's new artist   Check out Ben Payton, Music Maker's newest partner artist! Ben visited Hillsborough last week, performing at a local venue and working with Tim and Aaron in the studio. Click here to learn more about Ben and listen to a track from last week's session! Keep up with Music Maker!      Still Time to get December Record Club! There's still time to get the George Conner's album, Brother's Tone, in the mail for your December Record Club! Order any time through December 31st and receive this month's release, as well as future releases in March, June and September before they're released to the public! Already have a Record Club? Give one as a gift! Click here to find out more! Upcoming Shows: Click here for more info on upcoming events  12/20 - Ironing Board Sam - The Crunkleton, Chapel Hill, NC 12/27 - Beverly "Guitar" Watkins - Steve's Live Music, Sandy Springs, GA 12/27 - Ironing Board Sam - The Crunkleton, Chapel Hill, NC 12/31 - Beverly "Guitar" Watkins - Fatt Matt's Rib Shack, Atlanta, GA 12/31 - Cool John Ferguson - First Night, Raleigh, NC 1/04 - Boo Hanks - The Eddy Pub, Saxapahaw, NC 1/05 - Ironing Board Sam - G2B Gastropub, Durham, NC 1/13 - Ironing Board Sam - NC Museum of History, Raleigh, NC 1/18 - Big Ron Hunter - The Depot, Hillsborough, NC 1/26 - Shelton Powe - NC Museum of History, Raleigh, NC 2/01 - Ironing Board Sam - The Eddy Pub, Saxapahaw, NC   Music Maker Relief Foundation, Inc. helps the true pioneers and forgotten heroes of Southern music gain  recognition and meet their day to day needs. We present these musical traditions to the world so American culture will flourish and be preserved for future generations.

Sloppy Drunk - Big Joe Williams and Houston Stackhouse

Joseph Lee Williams (October 16, 1903 – December 17, 1982), billed throughout his career as Big Joe Williams, was an American Delta blues guitarist, singer and songwriter, notable for the distinctive sound of his nine-string guitar. Performing over four decades, he recorded such songs as "Baby Please Don't Go", "Crawlin' King Snake" and "Peach Orchard Mama" for a variety of record labels, including Bluebird, Delmark, Okeh, Prestige and Vocalion. Williams was inducted into the Blues Hall of Fame on October 4, 1992. Blues historian Barry Lee Pearson (Sounds Good to Me: The Bluesman's Story, Virginia Piedmont Blues) attempted to document the gritty intensity of the Williams persona in this description: "When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard". Born in Crawford, Mississippi, Williams as a youth began wandering across the United States busking and playing stores, bars, alleys and work camps. In the early 1920s he worked in the Rabbit Foot Minstrels revue and recorded with the Birmingham Jug Band in 1930 for the Okeh label. In 1934, he was in St. Louis, where he met record producer Lester Melrose who signed him to Bluebird Records in 1935. He stayed with Bluebird for ten years, recording such blues hits as "Baby, Please Don't Go" (1935) and "Crawlin' King Snake" (1941), both songs later covered by many other performers. He also recorded with other blues singers, including Sonny Boy Williamson I, Robert Nighthawk and Peetie Wheatstraw. Williams remained a noted blues artist in the 1950s and 1960s, with his guitar style and vocals becoming popular with folk-blues fans. He recorded for the Trumpet, Delmark, Prestige and Vocalion labels, among others. He became a regular on the concert and coffeehouse circuits, touring Europe and Japan in the late 1960s and early 1970s and performing at major U.S. music festivals. Marc Miller described a 1965 performance in Greenwich Village: "Sandwiched in between the two sets, perhaps as an afterthought, was the bluesman Big Joe Williams (not to be confused with the jazz and rhythm and blues singer Joe Williams who sang with Count Basie). He looked terrible. He had a big bulbous aneuristic protrusion bulging out of his forehead. He was equipped with a beat up old acoustic guitar which I think had nine strings and sundry homemade attachments and a wire hanger contraption around his neck fashioned to hold a kazoo while keeping his hands free to play the guitar. Needless to say, he was a big letdown after the folk rockers. My date and I exchanged pained looks in empathy for what was being done this Delta blues man who was ruefully out of place. After three or four songs the unseen announcer came on the p. a. system and said, "Lets have a big hand for Big Joe Williams, ladies and gentlemen; thank you, Big Joe". But Big Joe wasn't finished. He hadn't given up on the audience, and he ignored the announcer. He continued his set and after each song the announcer came over the p. a. and tried to politely but firmly get Big Joe off the stage. Big Joe was having none of it, and he continued his set with his nine-string acoustic and his kazoo. Long about the sixth or seventh song he got into his groove and started to wail with raggedy slide guitar riffs, powerful voice, as well as intense percussion on the guitar and its various accoutrements. By the end of the set he had that audience of jaded '60s rockers on their feet cheering and applauding vociferously. Our initial pity for him was replaced by wondrous respect. He knew he had it in him to move that audience, and he knew that thousands of watts and hundreds of decibels do not change one iota the basic power of a song". Williams' guitar playing was in the Delta blues style, and yet was unique. He played driving rhythm and virtuosic lead lines simultaneously and sang over it all. He played with picks both on his thumb and index finger, plus his guitar was heavily modified. Williams added a rudimentary electric pick-up, whose wires coiled all over the top of his guitar. He also added three extra strings, creating unison pairs for the first, second and fourth strings. His guitar was usually tuned to Open G, like such: (D2 G2 D3D3 G3 B3B3 D4D4), with a capo placed on the second fret to set the tuning to the key of A. During the 1920s and 1930s, Williams had gradually added these extra strings in order to keep other guitar players from being able to play his guitar. In his later years, he would also occasionally use a 12-string guitar with all strings tuned in unison to Open G. Williams sometimes tuned a six-string guitar to an interesting modification of Open G. In this modified tuning, the bass D string (D2) was replaced with a .08 gauge string and tuned to G4. The resulting tuning was (G4 G2 D3 G3 B3 D4), with the G4 string being used as a melody string. This tuning was used exclusively for slide playing He died December 17, 1982 in Macon, Mississippi. Williams was buried in a private cemetery outside Crawford near the Lowndes County line. His headstone was primarily paid for by friends and partially funded by a collection taken up among musicians at Clifford Antone's nightclub in Austin, Texas, organized by California music writer Dan Forte, and erected through the Mt. Zion Memorial Fund on October 9, 1994. Harmonica virtuoso and one time touring companion of Williams, Charlie Musselwhite, delivered the eulogy at the unveiling. Williams' headstone epitaph, composed by Forte, proclaims him "King of the 9 String Guitar." Remaining funds raised for Williams' memorial were donated by the Mt. Zion Memorial Fund to the Delta Blues Museum in order to purchase the last nine-string guitar from Williams' sister Mary May. The guitar purchased by the Museum is actually a 12-string guitar that Williams used in his later days. The last nine-string (a 1950s Kay cutaway converted to Williams' nine-string specifications) is missing at this time. Williams' previous nine-string (converted from a 1944 Gibson L-7) is in the possession of Williams' road agent and fellow traveler, Blewett Thomas. One of Williams' nine-string guitars can be found under the counter of the Jazz Record Mart in Chicago, which is owned by Bob Koester, the founder of Delmark Records. Williams can be seen playing the nine-string guitar in American Folk-Blues Festival: The British Tours, 1963-1966, a 2007 DVD release. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Carey Bell and Cooper Terry

Cooper Terry (San Antonio, 1949 – San Francisco, 1993) was a guitarist and American blues harmonica player, active for many years in Italy. His real name is Verl Cooper Jr. After the first musical experiences in the United States as a session musician for musicians such as John Lee Hooker and Sonny Terry, Cooper moved to Europe in 1970, settling in Milan in 1972. Here begins to play regularly on the premises that flock to the Milanese jazz and blues scene, coming into contact with characters who then will prove important in his path, like the harmonica player Fabio Treves and bassist Lillo Attested, and laying the foundations of what will be the Italian blues scene. In 1980 know Aida, Aida Cooper today, Loredana Berté ' future Chorister and then appreciated soloist, with which to start a partnership and sentimental music and culminating with the album ' Feeling Good ' If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Tend To Your Business Blues - Little Sonny Jones

Little Sonny Jones (April 15, 1931 – December 17, 1989) was an American New Orleans blues singer and songwriter. Over his lengthy career, Jones worked with various blues musicians, most notably Fats Domino. He is not to be confused with fellow blues musicians, Little Sonny nor Little Sonny Warner. He was born Johnny Jones in New Orleans, Louisiana, United States, and started singing professionally in the late 1940s. He befriended Fats Domino and, whilst working together, was given his nickname by Domino. In 1953 he released his debut single, "Do You Really Love Me" / "Is Everything Allright?", on Specialty. Jones recorded a further four songs for Imperial in 1954, which were produced by Dave Bartholomew, but all releases failed to find a commercial market. His connection with Domino endured and, up to 1961, Jones remained as Domino's opening act. Jones tracks included the blues standard, "Farther Up the Road". Jones was employed as the vocalist by a New Orleans based band led by the brothers, David and Melvin Lastie, until the late 1960s. Jones also had regular employment at a sugar factory. He returned to the recording studio in 1975, and issued his album, New Orleans R&B Gems, initially on the Netherlands based Black Magic label. With contributions from veteran musicians including Dave "Fat Man" Williams, the record faithfully copied the R&B style and sound of the 1950s. It was re-issued in 1995 by Black Top. Jones was a regular performer at the New Orleans Jazz & Heritage Festival. In December 1989, Jones died of heart failure in New Orleans, at the age of 58 If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Top R&B/Blues Ensemble Blowin' Smoke Return To Harvelle's For Pre-Christmas Concert/Dance Party

Hotter Than St. Louis BBQ!
Larry "Fuzzy" Knight Presents... 

Blowin' Smoke  - St. Louis-Style Rhythm & Blues Revue
Saturday, December 22@Harvelle's   

            

 Larry "Fuzzy" Knight (pictured below) fronts high-energy eleven-piece ensemble, Blowin' Smoke, along with the hot, sultry and sassy, Fabulous Smokettes. They're in concert this Saturday night, December 22 at long-renowned blues club Harvelle's in Santa Monica.   

                      

    (Santa Monica) -   Blowin' Smoke is hotter than St. Louis BBQ and twice as tasty! Catch the acclaimed eleven-piece R&B/Blues/Soul ensemble in concert this Saturday, December 22 at Harvelle's, 1432 4th St., Santa Monica. 9 p.m.-till? Info: (310) 395-1676 or https://www.facebook.com/harvelles?ref=ts&fref=t

    For nearly two decades, Blues/R&B/Soul group Blowin' Smoke has been one of the most in-demand, successful bands on the Southern California live music circuit. Front and center in Blowin' Smoke is its creator, bandleader/bassist/vocalist, Larry "Fuzzy" Knight - whose impressive musical resume' includes a decade-plus stint as bassist for one of the great SoCal bands to emerge from the psychedelic era of the Sixties, Spirit.  Knight has also recently launched a new band project, Sky King, featuring some top-name musicians, all the while keeping Blowin' Smoke going strong. 

    In a recent review of the band's Beyond the Blues Horizon CD,  BMans Blues Report writes, 'lead vocalist and bass player Larry 'Fuzzy' Knight delivers the goods..."C.O.D." is a hot R&B track featuring Michael Murphy on Hammond and Jimmy Delgado rippin' a great lead guitar...this is the kind of recording you can put on while you're working and driving and it will make the day fly...great tracks, great instrumentation, great vocals and great energy," the review concludes. 

   Check out Blowin' Smoke's terrific live rendition of 2013 Rock 'N' Roll Hall Of Fame inductee Albert King's song, "Let's Have A Natural Ball."

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Art Neville

Art Neville (born December 17, 1937) is an American singer and keyboardist from New Orleans. Neville is a part of one of the most famous musical families of New Orleans, the Neville Brothers. He was also a founding member of The Meters, and also continues to play with the spinoff group the Funky Meters along with his son Ian on guitar. As a session musician, he has played on recordings by many notable artists from New Orleans and elsewhere, including Labelle (on "Lady Marmalade"), Paul McCartney, Lee Dorsey, Dr. John and Professor Longhair. Art's daughter, Arthel Neville is a journalist and television personality. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

My Girl - Eddie Kendrick w/ Temtations

Edward James Kendrick (December 17, 1939 – October 5, 1992), best known by the stage name Eddie Kendricks, was an American singer and songwriter. Noted for his distinctive falsetto singing style, Kendricks co-founded the Motown singing group The Temptations, and was one of their lead singers from 1960 until 1971. His was the lead voice on such famous songs as "The Way You Do The Things You Do", "Get Ready", and "Just My Imagination". As a solo artist, Kendricks recorded several hits of his own during the 1970s, including the number-one single "Keep On Truckin'". Kendricks was born in Union Springs, Alabama on December 17, 1939, the son of Johnny and Lee Bell Kendrick. He had one sister, Patricia, and three brothers, Charles, Robert, and Clarence. His family moved to Birmingham, where he met and began singing with his best friend Paul Williams in their church choir in the late 1940s. In 1955, Kendricks, Williams, and friends Kell Osborne and Jerome Averette formed a doo-wop group called The Cavaliers, and began performing around Birmingham. The group decided to move for better opportunities in their musical careers, and in 1957 the group moved to Cleveland, Ohio. In Cleveland, they met manager Milton Jenkins, and soon moved with Jenkins to Detroit, Michigan, where the Cavaliers renamed themselves 'The Primes'. Under Jenkins' management, the Primes did well for themselves in the Detroit area, eventually creating a female spin-off group called The Primettes (later The Supremes). In 1961, Osbourne moved to California, and the Primes disbanded. Kendricks and Paul Williams joined forces with members Otis Williams and Melvin "Blue" Franklin of Otis Wiliiams and the Distants after three members quit and became The Elgins, who on the same day changed their name to "The Temptations" and signed to Motown. The Temptations began singing background for Mary Wells. After an initial dry period, The Temptations quickly became the most successful male vocal group of the 1960s. Although technically Kendricks was first tenor in the group's harmony, he predominately sang in a falsetto voice. Among the Temptations songs Kendricks sang lead on were "Dream Come True" (1962), the group's first charting single; "The Way You Do the Things You Do" (1964), the group's first US Top 20 hit; "I'll Be in Trouble" (1964); "The Girl's Alright With Me" (1964), a popular b-side that Kendricks co-wrote; "Girl (Why You Wanna Make Me Blue)" (1964); "Get Ready" (1966); "Please Return Your Love to Me" (1968); and "Just My Imagination" (1971). He was also allowed to sing a few leads in his natural voice such as "May I Have This Dance" (1962). He shares lead vocal duty on other records, including "You're My Everything" (1967) (shared with David Ruffin), and a long string of Norman Whitfield produced psychedelic soul records where all five Temptations sang lead, such as the Grammy winner "Cloud Nine" (1968), "I Can't Get Next to You" (1969), and "Ball of Confusion" (1970). He also leads on "I'm Gonna Make You Love Me" (1968), a popular duet with Diana Ross and the Supremes, and on the Temptations' famous version of the Christmas classic "Rudolph the Red-Nosed Reindeer" (1968). Eddie Kendricks (2nd from left) with the Temptations in 1967. In the Temptations, Kendricks was responsible for creating most of the group's vocal arrangements, and also served as wardrobe manager, including the now famous purple suits the group wore for one performance. He also co-wrote several Temptations songs apart from "The Girl's Alright With Me" including "Isn't She Pretty" (1961) and "Don't Send Me Away" (1967). His favorite food was cornbread, and as a result he was nicknamed "Cornbread" (or "Corn" for short) by his groupmates. According to Otis Williams, Kendricks romantically pursued Diana Ross, lead singer of the Supremes, and he was said to have been close friends with Martha Reeves of the Vandellas. In her second book, Supreme Faith, Supremes singer Mary Wilson writes that she and Kendricks were lovers "briefly," but remained close friends. Kendricks remained in the group through the rest of the decade, but a number of issues began to push him away from it in the late 1960s and early 1970s. He was uncomfortable with singing the psychedelic style that Whitfield was now crafting for the group as opposed to the romantic ballads they had sung under the direction of Smokey Robinson; his friend Paul Williams was often too ill to perform with the group; and Kendricks often found himself at odds with bandmates Otis Williams and Melvin Franklin. As he grew away from the group, Kendricks began to rekindle his friendship with ex-Temptation David Ruffin, who convinced him to leave the group. In a 1991 interview with a Chicago television series called Urban Street, Kendricks said he had actually considered leaving the group as early as 1965, even though that was when the band was finally starting to take off, because of things that "weren't quite proper." He explained that they were working with people that "didn't have their best interests at heart." Kendricks, however, initially decided to stay in the group because he was worried he would not get the support he needed if he left the group. Kendricks also expressed the fact that his relationship with Berry Gordy was less than cordial. "Berry Gordy is a man I don't know, I only met him about three times," he said, but "I know he didn't particularly care for me." Kendricks stated that he did not agree with many decisions that were made. Following one final altercation with Williams and Franklin during a run at the Copacabana nightclub in November 1970, Kendricks walked off after the first night and didn't return, and it was mutually decided he would leave the group.[1] While working on his first solo album, Kendricks recorded one last hit single with the Temptations, 1971's "Just My Imagination (Running Away with Me)". By the time the record reached #1 on the US pop charts in April 1971, Kendricks had signed a solo deal with Motown's Tamla imprint and was preparing the release of his first solo album, All By Myself. However, many of his problems with Motown would reoccur. Kendricks' solo career began slowly; he endured two years of singles that missed the Top 40, while The Temptations continued with their string of Norman Whitfield-helmed hits (one of which, "Superstar (Remember How You Got Where You Are)", was written as a jab towards Kendricks and Ruffin). Despite enjoying only a modicum of commercial success and radio airplay, Kendricks's 1972 album People... Hold On (with the aid of his touring group, The Young Senators: Jimi Dougans, Frank Hooker, LeRoy Fleming, Wornell Jones, David Lecraft, James Drumer Johnson and John Engram) was a cornerstone of DJ playlists in downtown New York's nascent disco scene. The expansive, eight minute take on "Girl, You Need A Change Of Mind", which peaked at number thirteen on the soul chart, from the album was a particular favorite at David Mancuso's Loft. The single was later remade by R&B singer D'Angelo for the Get on the Bus Soundtrack. As the dance craze seeped through into other cities, Kendricks scored a #1 pop hit in 1973 with the Frank Wilson-produced "Keep on Truckin'". It sold over one million copies, and was awarded a gold disc. Future hits included "Boogie Down" (US #2) (1974) and another million selling release, "Son of Sagittarius" (US #28) (1974), "Shoeshine Boy" (US #18) (1975), and "He's a Friend" (US #36) (1976). Another notable song is "Intimate Friends" (1977), which is sampled for the Alicia Keys song "Unbreakable", "A Penny for My Thoughts" by Common, Sparkle's "Time to Move on" on her self-titled first studio album and Sweet Sable's "Old Time's Sake" from the soundtrack for the 1994 2pac film, Above the Rim. Erykah Badu also sampled "Intimate Friends" for her song "Fall in Love (Your Funeral)", as well as his song "My People... Hold on" for her song "My People" on her album New Amerykah Part One (4th World War). Exasperated by a lack of creative and financial control, Kendricks left Motown in 1978, with the requirement of signing away the rights to his royalties. He moved first to Arista Records, and later to Atlantic Records. By this time, his popularity had waned, and he was also gradually losing his voice as a result of chain smoking. He and David Ruffin briefly re-joined the Temptations for a 1982 reunion tour. In an interview with Tom Meros, Dennis Edwards, Kendricks's former Temptations band mate, claimed that Kendricks had issues hitting his falsetto notes during recording sessions for the reunion album. Because of his singing difficulty, Edwards said that Kendricks went to a physician to examine his vocal ability. The physician discovered a "pin drop" of cancer on one of his lungs. However, Kendricks reportedly refused to undergo chemotherapy at the time because of fear that he would lose his hair. Ruffin and Kendrick (Kendricks dropped the "s" from his stage name during the 1980s) reportedly met up one night when Ruffin went to watch Kendrick perform in a nightclub; Kendrick spotted Ruffin in the crowd, pointed him out, and invited him to come up on stage and perform with him. Afterward they talked about touring on their own and recorded an album as a duo for RCA in 1988. Earlier, in 1985, they participated in the Hall & Oates live album Live at The Apollo recorded at a benefit at New York City's Apollo Theater; and sang with the duo at Live Aid in Philadelphia and the MTV Video Music Awards in New York. Hall & Oates have cited Kendrick and Ruffin specifically, and the Temptations in general, as a major influence. In 1989, Kendrick, Ruffin, and their Temptations bandmates were inducted into the Rock and Roll Hall of Fame. There, Kendrick and Ruffin made plans with fellow former Temptation Dennis Edwards to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations." The Ruffin/Kendrick/ Edwards project was cut short in 1991, when Kendrick was diagnosed with lung cancer and David Ruffin died of a drug overdose, although Kendrick and Edwards continued to tour for the remainder of 1991. In late 1991, Kendrick, by now living in his native Birmingham, Alabama, underwent surgery to have one of his lungs removed in hopes of preventing the spread of the cancer. He continued to tour through the summer of 1992, when he fell ill again and was hospitalized. Kendrick died on October 5, 1992, of lung cancer in Birmingham at the age of 52. Kendrick is survived by his three children: Parris Kendrick, Aika Kendrick and Paul Kendrick. He was buried in Elmwood Cemetery. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

Papa Was A Rascal - James Booker

James Carroll Booker III (December 17, 1939 – November 8, 1983) was a New Orleans rhythm and blues musician born in New Orleans, Louisiana, United States. Booker's unique style combined rhythm and blues with jazz standards. Booker was the son and grandson of Baptist ministers, both of whom played the piano. He spent most of his childhood on the Mississippi Gulf Coast, where his father pastored a church. Booker received a saxophone as a gift from his mother, but he demonstrated a stronger interest in the keyboard. He first played organ in his father's churches. After returning to New Orleans in his early adolescence, Booker attended the Xavier Academy Preparatory School. He learned some elements of his keyboard style from Tuts Washington and Edward Frank. Booker was highly skilled in classical music and played Bach and Chopin, among other composers. He also mastered and memorized solos by Erroll Garner, and Liberace. His thorough background in piano literature may have enabled his original and virtuosic interpretations of jazz and other popular music. These performances combined elements of stride, blues, gospel and Latin piano styles. Booker made his recording debut in 1954 on the Imperial label, with "Doin' the Hambone" and "Thinkin' 'Bout My Baby." This led to some session work with Fats Domino, Smiley Lewis, and Lloyd Price. In 1958, Arthur Rubinstein gave a concert in New Orleans. Afterwards, eighteen-year-old Booker was introduced to the concert pianist and played several tunes for him. Rubinstein was astonished, saying "I could never play that... never at that tempo." (The Times-Picayune, 1958) Booker also became known for his flamboyant personality amongst his peers. After recording a few other singles, he enrolled as an undergraduate in Southern University's music department. In 1960, Booker's "Gonzo" reached number 43 on the U.S. Billboard chart, and number 3 on the R&B chart. This was followed by some moderately successful singles. In the 1960s, he turned to drugs, and in 1970 served a brief sentence in Angola Prison for possession. Professor Longhair and Ray Charles were among his important influences. In 1973 Booker recorded The Lost Paramount Tapes at Paramount Studios in Hollywood, California with members of the Dr. John band which included John Boudreaux on drums, Jessie Hill on percussion, Alvin Robinson on guitar and vocals, Richard "Didymus" Washington on percussion, David Lastie on sax and Dave Johnson on bass. This album was produced by the former Dr. John and Sweathog bassist, David L. Johnson and Daniel J. Moore. The master tapes disappeared from the Paramount Recording Studios library, but a copy of some of the mixes made near the time of the recordings was discovered in 1992, which resulted in a CD release. Booker's performance at the 1975 New Orleans Jazz and Heritage Festival earned him a recording contract with Island Records. His album with Island, Junco Partner, was produced by Joe Boyd, who had previously recorded Booker on sessions for the Muldaurs' records. During 1976, Booker played and toured with the Jerry Garcia Band. Booker recorded a number of albums while touring Europe in 1977, including New Orleans Piano Wizard: Live!, which was recorded at his performance in the 'Boogie Woogie and Ragtime Piano Contest' in Zurich, Switzerland This album won the Grand Prix du Disque. He played at the Nice and Montreux Jazz Festivals in 1978. Fourteen years later a recording in Leipzig from this tour would become the last record to be produced in the former East Germany. It was entitled Let's Make A Better World!. From 1977 to 1982 he was the house pianist at the Maple Leaf Bar in the Carrollton neighborhood of uptown New Orleans. Recordings during this time made by John Parsons were released as Spider on the Keys and Resurrection of the Bayou Maharajah. His last commercial audio recording, Classified, was made in 1982 — in four hours according to the producer, Scott Billington. By this time, his physical and mental condition had deteriorated. At the end of October, 1983, film-maker Jim Gabour captured Booker's final concert performance. The footage from the Maple Leaf Bar in New Orleans was broadcast on Cox Cable and a six-and-a-half-minute improvisation, "Seagram's Jam," featured on Gabour's film - All Alone with the Blues. Booker died ten days later, on November 8, 1983, while seated in a wheelchair, waiting to be seen at the emergency room at New Orleans Charity Hospital. The cause of death was renal failure. (Orleans Parish Coroner's Death Certificate). His death was mourned by music lovers, but was unsurprising to those who were aware of his lifelong history of serious drug abuse and chronic alcoholism. Harry Connick Jr., a student and close friend of Booker, is probably his most renowned disciple. Connick, Henry Butler, and Dr. John, among others, have recorded songs with titles and musical styles referencing Booker. Transcriptions by Joshua Paxton of Booker's playing are available in "The James Booker Collection" and "New Orleans Piano Legends", both published by The Hal Leonard Corporation. Patchwork: A Tribute to James Booker is a 2003 release consisting of a compilation of his songs performed by various pianists. The latest Booker album, released in June 2007, is Manchester '77, which consists of a live performance recorded in October 1977 at The Lake Hotel, Belle Vue, Manchester with Norman Beaker on guitar. It has been speculated that his song "Gonzo" was the inspiration for the use of the word gonzo to describe Hunter S. Thompson's journalistic style.[citation needed] A feature-length documentary entitled "Bayou Maharajah" is currently being produced by Lily Keber on the life of James Booker. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

Bow-Legged Mama - Tom Delaney

Tom Delaney was one of the more popular and prolific composers of blues songs in the '20s. He was better known for the behind the scenes activity of composing, although he did make a few appearances interpreting his own songs on record. Much Delaney material was fodder for recording artists and publishers of this era, always on the lookout for new blues material at a time when the large audience for such product had just recently been recognized. Delaney's "Down Home Blues" was a fantastic success for Ethel Waters in 1924, while the Helen Gross recording of "I Wanna Jazz Some More" became famous for his rhymes about "Miss Susan Green from New Orleans." "Sinful Blues", first published in 1923, was an example of one of the many Delaney titles that fell into control of producer, publisher and record company manager Joe Davis. Davis continued exploiting Delaney material throughout the decade, examples of which include Maggie Jones recording the resigned "If I Lose, Let Me Lose" for Columbia and Clara Smith coming up with an unhassled version of "Troublesome Blues". Not every song he came up with made it all the way to a recording session or sheet music form, however. "Goopher Dust Blues", which may or may not include a spelling mistake in its title and "Grievin Mama" were Delaney titles that were never recorded for undisclosed reasons; "All the Girls Like Big Dick", on the other hand, obviously went too far even in the sex-crazed climate of the '20s. Davis wouldn't even think about releasing this song later in the '50s when naughty "party" records became a fad. Delaney's recordings on his own largely date from 1925 and include "I'm Leavin' Just to Ease My Worried Mind" and "Bow-Legged Mama". If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Big Fat Trap - Big Boy Bloater and the Limits

Big Boy Bloater is a well known figure on the blues and roots music scenes around the world – his unique and powerful style has thrilled audiences from London to Las Vegas and his peformances have built an enviable profile and following, not only from the roots crowds but from anyone that has ever witnessed his charisma and talent on stage. As well as touring all over Europe, the middle-east, the USA and Canada, Big Boy Bloater has made numerous TV and radio appearances. In March ’12 he was a guest on the Jo Whiley show on BBC Radio 2, chatting to Craig Charles (sitting in). In 2011 he recorded a live session and interview on the Jools Holland Radio 2 show and was a live guest on the Craig Charles Funk & Soul Show on BBC 6Music. Previous to that he recorded three live sessions for Mark Lamarr’s late night Radio 2 show ‘God’s Jukebox’ (Nov 06, Dec 08 & Jan 10) and two sessions for the Paul Jones R&B show. He spent a week as the house band on CH4’s Big Breakfast and has racked up many other national TV and radio appearances both home and abroad. He has played in some of the most famous venues in the world and has appeared at many major festivals worldwide. Bloater has played guitar behind contemporary artists like Paloma Faith and Imelda May and continues to be a much sought after session player as well as being the guitarist du jour for visiting Blues, R&B and R&R legends (see Reviews and Collaborations below). Bloater has it all; writing, performing, singing and playing and he comes with an amazing pedigree – he has a career that most guitarists would die for – but he continues to push the barriers and is constantly striving to produce bigger and better shows. He is a consummate professional and also a very nice guy! With his new band ‘Big Boy Bloater and the Limits’ (launched 2011) Big Boy Bloater is building on his rhythm and blues roots, inventing a new, fresh sound – delivered in his unique, mesmerising and powerful style. He brings you brand new sounds from his own songbook, a stunning mix of swamp soul, dark blues and twang. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!