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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
Please email me at Info@Bmansbluesreport.com
I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
Please email me at Info@Bmansbluesreport.com
Friday, January 4, 2013
Slip Away - Clarence Carter
Clarence Carter (born January 14, 1936) is an American soul singer and musician.
Born in Montgomery, Alabama on January 14, 1936, Carter attended the Alabama School for the Blind in Talladega, Alabama, and Alabama State College in Montgomery, graduating in August 1960 with a Bachelor of Science degree in music. His professional music career began with friend Calvin Scott, signing to the Fairlane Records label to release "I Wanna Dance But I Don't Know How" the following year. After the 1962 release of "I Don't Know (School Girl)," Carter and Scott left Fairlane Records for Duke Records, renaming themselves the CL Boys for their label debut, Hey. In all, the duo cut four Duke singles, none of them generating more than a shrug at radio..
In 1965, they traveled to Rick Hall's FAME Studios in Muscle Shoals to record "Step by Step" and its flip side, "Rooster Knees and Rice." Atlantic Records took notice and released "Step by Step" on its Atco Records subsidiary, but it flopped. Carter continued as a solo act, signing to the Fame Records label for 1967's Tell Daddy. Several more solid singles followed, until Carter released "Slip Away," which hit number 6 on the Pop Charts. "Too Weak to Fight" hit number 13. Several more soul singles followed, like "Snatching It Back," "Making Love (At the Dark End of the Street)", "The Feeling Is Right," "Doing Our Thing" and "Patches." "Patches" (first recorded by Chairmen of the Board) was a UK number 2 and a U.S. number 4 in 1970, and won the Grammy Award for Best R&B Song in 1971. This disc sold over one million copies, and received a gold disc awarded by the R.I.A.A. in September 1970, just two months after its release. Following "Slip Away" and "Too Weak to Fight", it was Carter's third million-seller. That same year Carter married former Fame labelmate Candi Staton (divorced in 1973), with the marriage producing one son, Clarence Carter Jr.
With the advent of disco in the mid 1970s, Carter's career suffered, before he found a new audience with songs such as "Strokin'" and "Dr. C.C." in the 1980s and 1990s, which appealed (and still appeal) to a primarily African-American working-class audience that was also interested in contemporary blues and soul artists such as Denise LaSalle, Bobby Rush, Marvin Sease and Sir Charles Jones. "Strokin'" was given further acclaim when it was used in the Eddie Murphy remake of The Nutty Professor. It was most recently used in William Friedkin's film Killer Joe. Carter's soul sound also found an audience within the then-nascent hip-hop community. Most notably, the horn break from Carter's song "Back Door Santa", is sampled in the Run-D.M.C. Christmas song "Christmas in Hollis".
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 favorites band! - ”LIKE”
Labels:
Alabama,
Clarence Carter
My Race Hoss - Sonny Blake
4th day of January in 1923 Blues harmonica player Sonny Blake
was born Clennon Lee Blakes in Dundee, MS.
Fine Memphis-based singer and harmonica player, who made a few singles for CMC, an EP for Rooster Records, and featured in a few tracks on anthologies, with Mose Vinson.
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 favorites band! - ”LIKE”
Labels:
Clennon Lee Blakes,
Mississippi,
Sonny Blake
Thursday, January 3, 2013
Chicken Shack - Amos Milburn
Amos Milburn (April 1, 1927 – January 3, 1980) was an African American rhythm and blues singer and pianist, popular during the 1940s and 1950s. He was born and died in Houston, Texas.
One commentator noted, "Milburn excelled at good-natured, upbeat romps about booze and partying, imbued with a vibrant sense of humour and double entendre, as well as vivid, down-home imagery in his lyrics."
Born in Houston, one of thirteen children, by the age of five years Milburn was playing tunes by piano. He enlisted in the United States Navy when he was fifteen and earned thirteen battle stars in the Philippines, before returning to Houston and organizing a sixteen-piece band playing in Houston clubs, and participating with the Houston jazz and blues musicians. He was a polished pianist and performer and during 1946 attracted the attention of a woman who arranged a recording session with Aladdin Records in Los Angeles, California. Milburn's relationship with Aladdin lasted eight years during which he produced more than seventy-five sides. His cover version of "Down the Road a Piece" (1946) was a blues song with a Texas boogie beat that was similar in many respects to rock music. However, none became popular until 1949 when seven of his singles got the attention of the R&B audience. "Hold Me Baby" and "Chicken Shack Boogie" landed numbers eight and nine on Billboard's survey of 1949's R&B Bestsellers. He became one of the main performers associated with the Central Avenue music scene in Los Angeles. He was also a popular touring artist, and won awards from both Down Beat magazine (Best Blues and Jazz Star) and Billboard magazine (Top R&B Artist). Among his best known songs was "One Scotch, One Bourbon, One Beer". During 1950 Milburn's "Bad, Bad, Whiskey" scored the top of the R&B record chart and began a series of drinking songs (none written by Milburn, but several composed by Rudy Toombs). However, there is not any evidence that Milburn had an alcohol problem.
Milburn continued his successful drinking songs through 1952 ("Thinking and Drinking", "Trouble in Mind") and was by now touring the country playing clubs. While touring the Midwest that summer, he announced that he would disband his combo team and continue as a solo act and that autumn he joined Charles Brown for a Southern concert tour. For the next few years each of his tours was composed of a series of one-nighters. After three years of solo performing he returned to Houston during 1956 to reform his band. During 1957 Milburn's releases with Aladdin Records did not sell well, and the record label, having its own problems, terminated. He tried to regain commercial success with a few more releases with Ace Records but his time had passed. Radio airplay was emphasizing on the teenage market.
Milburn contributed to the R&B Yuletide canon during 1960 with "Christmas (Comes but Once a Year)" for King Records. The song appeared as the b-side of Brown's holiday classic "Please Come Home for Christmas".
Milburn's final recording was for an album by Johnny Otis. This was during 1972 after he had been incapacitated by a stroke, so much so that Otis had to play the left-hand piano parts for his enfeebled old friend. His second stroke resulted in amputation of a leg because of circulatory problems. He died soon after at the age of 52 years from a third stroke
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!
Labels:
Amos Milburn,
Texas
Muskrat Ramble - Wilbur deParis and his New New Orleans Jazz
Next to Wilber deParis on trombone there are Sidney deParis on trumpet and cornet, Omer Simeon on clarinet and Wilbert Kirk on drums.
Wilbur de Paris (January 11, 1900 – January 3, 1973) was a trombone player and band leader, especially known for mixing New Orleans jazz style with Swing.
De Paris was born in Crawfordsville, Indiana, where his father, Sidney G. Paris, who came from West Virginia and who was a musician (trombone, banjo, guitar), a circus barker, a ventriloquist, a minstrel, etc., had met and married his mother, Fannie Hyatt. By the autumn of 1906, when he was five, de Paris had started playing alto saxophone, and a year later was working for his father in one of his plantation shows.
These shows were small travelling theatrical-musical groups of singers, dancers, actors, comedians, and musicians who mainly worked for Theatre Owners and Bookers Association in the South. They performed in small tents and theatres with a mixture of drama, musical and comedy sketches, magic, etc., which would later be incorporated into vaudeville.
De Paris heard jazz first at age 16, circa 1917, as a member of a summer show that played at the Lyric Theatre. He also met Louis Armstrong whilst playing the saxophone at Tom Anderson's Cafe, and with A. J. Piron. After high school, de Paris worked for his father for a time, then worked for more travelling shows in the east, then started playing in Philadelphia in the early 1920s. His first band was Wilbur de Paris and his Cottonpickers. After the Wall Street Crash in 1929 he disbanded his second group and went to New York to play for many years with the greats of jazz and to make records.
In the late 1940s, together with his brother, Sidney De Paris, he started a band called New New Orleans Jazz, featuring legendary jazzmen including the famed Jelly Roll Morton clarinetist Omer Simeon. Other band members included drummers Zutty Singleton & Freddie Moore. The banjo chair was filled first by Eddie Gibbs and later by Lee Blair also of Morton fame. Don Kirkpatrick was the band's most consistent piano player. This band became an institution in New York City during the 1950s and toured the world in the late 1950s. The band recorded extensively.
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!
Labels:
Indiana,
Wilbur deParis
Messin' with the Kid - Larry Miller
After picking up his brother's guitar and writing his first song, he felt his future lay in Rock music, being influenced by some of the guitar greats - Jimi Hendrix, Rory Gallagher, Johnny Winter, Stevie Ray Vaughan and Gary Moore. "For me, my moment of inspiration was seeing Rory Gallagher live, I had never experienced anything like it. So loud, so gloriously on the edge of total mayhem, yet Rory was still totally in control. How could I not do this too! Like Rory I'd work under my own name, with a band. I'd do all the writing, singing, producing, playing and leading."
Very quickly, Larry found his own Blues/Rock style, and has been constantly refining it. He is a guitarist, singer, songwriter, with a love for his music which is simply infectious.
After many years in the music business and touring constantly, Larry has built up a large following across the UK and building an ever increasing army of fans in Europe. His status as guitar slinger, is becoming legendary with his exciting, mesmerising guitar playing and rip roaring live shows. His engaging personality brings a dimension of showmanship to his performances like no other. In 2009, Larry played an amazing seven encores at the Cambridge Rock Festival and a declaration was made of a "National Larry Miller day". This is embedded in the festival's history and he returned in 2010 to a standing ovation and the biggest crowd of the festival. He is unique, there is only one Larry Miller.
Larry Miller has released 6 albums, all of which have had critical acclaim. The latest being 'Unfinished Business' which has had rave reviews. One journalist in his review stated " Unfinished Business is the business" and Classic Rock magazine wrote a glowing review of the album, giving it a top five star rating asking "Why isn't he a superstar"?
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!
Labels:
International,
Larry Miller
First Madison-Area Show For Altered Five's Since Release Of Band's Critically-Lauded Gotta Earn It"
|
Labels:
Altered Five,
Milwaukee,
Wisconsin
Can Of Gas & A Match - The Bush League - New Release Review
I just received a copy of the newest release, Can Of Gas & A Match by The Bush League and it's killer. The recording opens with the title track, Can Of Gas & A Match which has a solid base like Brush With The Blues from Royce Folks on bass and Debbie Flood on drums. JohnJason "Sleepy Eyed Jay" Cecil carries the track with an incredible modern swamp blues voice and Shane "Chicago Slim" Parch plays simple over driven rhythm guitar and excellent raw guitar punctuation throughout this track...think modern blues meets RL Burnside. This is a great track. Devil Cryin' In The Churchyard has a lighter feel with Parch painting lightly on the guitar as Cecil has a more modern delivery on vocal. The rhythm section is particularly tight on this track. Another track that I really like is Don't Touch My Liquor. This is a driving swamp boogie with wide open distortion on guitar and swingin' vocals. Drumming by Flood is really notable and crisp. Parch lays some fat slide guitar down on this track and Folks keeps the drive solid with prominent bass leads. Running Through The River is really a wide open jam with great rhythmic drumming and over the top guitar work. Cecil really does a nice job on vocals the the driving manner of the track is really effective. '59 Chevy takes a turn toward funk with a bit of spoken lyrics. This will likely appeal to fans liking a more modern approach to the blues. Mexico opens with Parch on an opened tuned resonator picking up momentum as Flood joins playing flashy rudimentary drum riffs. The track actually puts me in mind of an old Kim Simmonds track, Let It Rock, which is a great song. This is a slide rocker with a bit of distortion adding to the fatness. Another really strong track. Penicillin follows a traditional 12 bar format with an uptempo beat. Cecil has a great voice for this style of music and Parch keeps the slide hot for an occasional strike. .38 Special Blues is a slow blues in the manner of Going Down Slow. This is a departure from the balance of the recording and a nice contrast in style. Cecil shows a different side of his vocal style and the band keeps it tight , not overplaying giving Cecil all of the room he needs. Parch lays out a really sweet slide solo on this track with no pretense... just guts. Really cool track. There is also some nice piano work on this track but I didn't notice the player's name...sorry. Death Of Robert is another swampy track which has a slight tail of the British influence in it. Vocals are again delivered in a more spoken manner as is seen in more modern approaches to the blues. Parch uses the open tuned slide to lay out some really fat music over the solid rhythm of this track. This is a pretty strong track to end the release and another one that may see a bit of public attention. There is a bonus track on the commercial CD (no on the download)... and old R Wilkins track called Prodigal Son. This is really a strong track done acoustically and a really super addition to the entire package. Clean guitar picking, and great vocals from Cecil.
This is a really solid release and one that should carry The Bush League to the big leagues!
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 favorites band! - ”LIKE”
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 favorites band! - ”LIKE”
Labels:
The Bush League,
Virginia
Prog rockers "Caravan" tour the UK from January 8
JANUARY 2013 UK TOUR
Plus special guest Garron Frith
Tickets on sale Monday June 18th
24hr Box Office: 0844 478 0898
www.eventim.co.uk
40th Anniversary tour of their seminal 1973 album
"For Girls Who Grow Plump In The Night"
The UK tour will see Caravan celebrating the 40th Anniversary of what many critics regard to be the quintessential prog album of all time; 1973’s “For Girls Who Grow Plump In The Night”. Tickets for the tour go on sale Monday June 18th from the 24 hour box office - 0844 478 0898, www.eventim.co.uk.
Caravan are considered by many to be the undisputed, unsung heroes of the British Prog movement. Often quoted as being one of the most formidable acts to emerge from the '60s progressive rock scene, over the years they have managed to achieve cult status and have maintained a passionate and diehard following.
Originally formed in Canterbury in 1968, Caravan were at the heart of the 1970s burgeoning Canterbury rock movement, and produced their own brand of “superior pop music, full of taste, craftsmanship and hard work” (New Musical Express) and packed venues worldwide.
The current Caravan line-up includes Pye Hastings (1968 founding member: guitar, lead vocals), Geoffrey Richardson (joined 1972: viola, guitar, flute, vocals), Jan Schelhaas
(keyboards), Jim Leverton (bass, vocals) and Mark Walker (drums, percussion).
CARAVAN
JANUARY 2013 UK TOUR
Plus special guest Garron Frith
JANUARY 2013 UK TOUR
Plus special guest Garron Frith
24hr Box Office: 0844 478 0898
www.eventim.co.uk
www.eventim.co.uk
LONDON QUEEN ELIZABETH HALL
Tuesday 8th January
Tickets: £25.00
Box Office: 0844 847 9910
Doors: 7pm / Stage: 7:30pm
Format: Seated
Queen Elizabeth Hall at Southbank Centre, SE1 8XX
www.southbankcentre.co.uk
Tuesday 8th January
Tickets: £25.00
Box Office: 0844 847 9910
Doors: 7pm / Stage: 7:30pm
Format: Seated
Queen Elizabeth Hall at Southbank Centre, SE1 8XX
www.southbankcentre.co.uk
CAMBRIDGE JUNCTION
Wednesday 9th January
Ticket Price: £22.50
Box Office number: 01223 511 511
Doors: 7pm / Stage: 8pm
Format: Seated
Clifton Way Cambridge CB1 7GX
www.junction.co.uk
Wednesday 9th January
Ticket Price: £22.50
Box Office number: 01223 511 511
Doors: 7pm / Stage: 8pm
Format: Seated
Clifton Way Cambridge CB1 7GX
www.junction.co.uk
WOLVERHAMPTON ROBIN
Thursday 10th January
Tickets: £20.00
Box Office: 01902 401 211
Doors: 7.30pm / Stage: 8pm
Format: Standing
20-28 Mount Pleasant, Bilston,
Wolverhampton, WV14 7LJ
www.therobin.co.uk
Thursday 10th January
Tickets: £20.00
Box Office: 01902 401 211
Doors: 7.30pm / Stage: 8pm
Format: Standing
20-28 Mount Pleasant, Bilston,
Wolverhampton, WV14 7LJ
www.therobin.co.uk
GATESHEAD SAGE
Saturday 12th January
Ticket Price: £22.50
Box Office number: 0191 443 4661
Doors: 7.30pm / Stage: 8.00pm
Format: Standing / Seated
St Mary's Square, Gateshead Quays,
Gateshead, NE8 2JR
http://thesagegateshead.org
Saturday 12th January
Ticket Price: £22.50
Box Office number: 0191 443 4661
Doors: 7.30pm / Stage: 8.00pm
Format: Standing / Seated
St Mary's Square, Gateshead Quays,
Gateshead, NE8 2JR
http://thesagegateshead.org
EDINBURGH QUEEN’S HALL
Sunday 13th January
Tickets: £22.50
Box Office: 0131 668 2019
Doors: 7pm / Stage: 7.30PM
Format: Seated
85-89 Clerk Street,
Edinburgh, EH8 9JG
www.thequeenshall.net
Sunday 13th January
Tickets: £22.50
Box Office: 0131 668 2019
Doors: 7pm / Stage: 7.30PM
Format: Seated
85-89 Clerk Street,
Edinburgh, EH8 9JG
www.thequeenshall.net
SALFORD LOWRY
Monday 14th January
Tickets: £22.50
Doors 7.30pm / Stage 8pm
Format: Seated
The Lowry, Pier 8,
Salford Quays, M50 3AZ
www.thelowry.com
Monday 14th January
Tickets: £22.50
Doors 7.30pm / Stage 8pm
Format: Seated
The Lowry, Pier 8,
Salford Quays, M50 3AZ
www.thelowry.com
BRIDPORT ELECTRIC PALACE
Wednesday 16th January
Tickets: £22.50
Box Office: 01308 424901
Doors: 7pm / Stage: 8pm
Format: Seated
35 South Street, Bridport, Dorset, DT6 3NY
www.electricpalace.org.uk
Wednesday 16th January
Tickets: £22.50
Box Office: 01308 424901
Doors: 7pm / Stage: 8pm
Format: Seated
35 South Street, Bridport, Dorset, DT6 3NY
www.electricpalace.org.uk
BATH KOMEDIA
Thursday 17th January
Tickets: £22.50
Box Office: 0845 293 8480
Doors 7.30pm / Stage 8pm
Format: Seated
22-23 Westgate Street, Bath, BA1 1EP
www.komedia.co.uk/bath
Thursday 17th January
Tickets: £22.50
Box Office: 0845 293 8480
Doors 7.30pm / Stage 8pm
Format: Seated
22-23 Westgate Street, Bath, BA1 1EP
www.komedia.co.uk/bath
TAVISTOCK THE WHARF
Friday 18th January
Tickets: £20.00
Box Office: 01822 611166
Doors: 8pm / Stage: 8.30pm
Format: Standing
Canal Street, Tavistock, PL19 8AT
www.tavistockwharf.com
Friday 18th January
Tickets: £20.00
Box Office: 01822 611166
Doors: 8pm / Stage: 8.30pm
Format: Standing
Canal Street, Tavistock, PL19 8AT
www.tavistockwharf.com
FALMOUTH PRINCESS PAVILION
Saturday 19th January
Tickets: £22.50
Box Office: 01326 211222
Doors 7.30pm / Stage 8pm
Format: Seated
Melvill Road, Falmouth, TR11 4AR
www.princesspavilion.co.uk
Saturday 19th January
Tickets: £22.50
Box Office: 01326 211222
Doors 7.30pm / Stage 8pm
Format: Seated
Melvill Road, Falmouth, TR11 4AR
www.princesspavilion.co.uk
CONNECT WITH CARAVAN
CARAVAN – OFFICIAL WEBSITE
www.caravan-info.co.uk
www.caravan-info.co.uk
CARAVAN - OFFICIAL FACEBOOK
www.facebook.com/OfficialCaravan
www.facebook.com/OfficialCaravan
CARAVAN - OFFICIAL TWITTER
www.twitter.com/officialcaravan
www.twitter.com/officialcaravan
CARAVAN - OFFICIAL YOUTUBE
www.youtube.com/officialcaravan
www.youtube.com/officialcaravan
Labels:
Caravan,
England,
International
Train Train - Danny Overbea
b. 3 January 1926, Philadelphia, Pennsylvania, USA, d. 11 May 1994, Chicago, Illinois, USA. Guitarist and singer Overbea, who came out of the Chicago R&B scene, was one of the earliest pioneers of rock ‘n’ roll. He began his musical career in 1946 and first recorded in 1950 as a vocalist on an Eddie Chamblee track. Overbea joined Chess Records in 1952, producing his best-known songs, ‘Train Train Train’ (number 7 R&B) and ‘40 Cups Of Coffee’, the following year. Both were essentially rock ‘n’ roll songs before the concept of ‘rock ‘n’ roll’ had even emerged. In the pop market, ‘Train Train Train’ was covered by Buddy Morrow and ‘40 Cups Of Coffee’ by Ella Mae Morse. By 1955, when rock ‘n’ roll was making its breakthrough on the pop charts, Bill Haley And His Comets recorded ‘40 Cups Of Coffee’, which, even though it did not chart, proved to be one of their better efforts. Famed disc jockey Alan Freed featured Overbea many times in his early rock ‘n’ roll revues in Ohio and New York; his acrobatic back-bend to the floor while playing the guitar behind his head was always a highlight of the shows. Overbea was also a talented ballad singer (in the mode of Billy Eckstine), having most success with ‘You’re Mine’ (also recorded by the Flamingos) and ‘A Toast To Lovers’. Overbea made his last records in 1959 and retired from the music business in 1976.
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 favorites band! - ”LIKE”
Labels:
Danny Overbea,
Pennsylvania,
Philadelphia
Mush Mouth - GEEZIL MINERVE, Buddy Johnson and His Orchestra
Harold "Geezil" Minerve (January 3, 1922 - June 4, 1992) was a Cuban-born jazz alto saxophonist and flautist.
Minerve was raised in Florida and began playing music at age 12. He played with Ida Cox early in his career, then worked as a freelance musician in New Orleans. Following stints with Clarence Love and Ernie Fields, Minerve served in the Army from 1943-46, then returned to play with Fields for a short time. He worked with Buddy Johnson from 1949-1957, then with Mercer Ellington (1960), Ray Charles (1962-64), and Arthur Prysock. In 1971 he joined the Duke Ellington Orchestra, filling Johnny Hodges's spot after Hodges's death. Minerve remained with the Ellington Orchestra until 1974, then returned to play with Mercer Ellington. He did further freelance work later in the 1970s.
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 favorites band! - ”LIKE”
Labels:
Buddy Johnson,
Cuba,
GEEZIL MINERVE,
International
Steel Guitar Rag - Leon McAuliffe & Cimarron Boys
Leon McAuliffe (January 3, 1917 – August 20, 1988), born William Leon McAuliffe, was an American Western swing musician from Houston, Texas. He is famous for his steel guitar solos with Bob Wills and The Texas Playboys, inspiring Wills's phrase, "Take it away, Leon."
McAuliffe, at age 16, first played with the Light Crust Doughboys, playing both rhythm guitar and steel guitar. In 1935, at age 18, he went on to play with Bob Wills in Tulsa, Oklahoma. He stayed with Wills until World War II. While with Wills he helped compose "San Antonio Rose". He is more noted, however, for his most famous composition, "Steel Guitar Rag", and his playing, along with that of [Bob Dunn (musician)|Robert Lee Dunn] (Milton Brown's Musical Brownies), that popularized the steel guitar in the United States. His playing (and Dunn's) is also credited with inspiring the rhythm and blues electric guitar style occurring some twenty years later.
After the war, McAuliffe returned to Tulsa, forming his Western swing band and releasing a number of recordings, including "Panhandle Rag" (Columbia 20546) which reached number six in 1949. McAuliffe soon opened his Cimarron Ballroom in the remodeled Akdar Shrine Mosque in Tulsa. He and his band, Leon McAuliffe and His Cimarron Boys, named for the ballroom, recorded several songs. He also opened a recording studio, Cimarron Records.
In the late 1950s, he appeared on ABC-TV's Jubilee USA and other broadcasts. McAuliffe funded a music program at Rogers State College in Claremore, Oklahoma, paying for a recording studio and office on campus. It was from this studio and office that Junior Brown taught guitar and met his wife Tanya Rae. McAuliffe was always giving to his students, featuring them in his concerts around northeastern Oklahoma. He died after a long illness on August 20, 1988 in Tulsa. The studio gear was donated by Eleanor, his widow, to a church McAuliffe favored.
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 favorites band! - ”LIKE”
Labels:
Leon McAuliffe,
Texas
PRESTON JACKSON UPTOWN BAND
James Preston McDonald, better known by his stage name Preston Jackson (January 3, 1902 – November 12, 1983) was an American jazz trombonist.
Jackson was born in New Orleans and moved to Chicago in 1917, but did not pick up trombone until 1920; within nine months he began playing professionally. Among his teachers in the early 1920s were Roy Palmer and Honore Dutrey. He sometimes deputized for Dutrey in King Oliver's band. In the 1920s he played with Tig Chambers, Al Simone, Eli Rice, and Art Sims, and recorded with Bernie Young and his Creole Jazz Band at the Marsh Laboratories (1923) and Richard M. Jones. In the 1930s he played with Dave Peyton (1930), Erskine Tate, Louis Armstrong (1931-32), Half Pint Jaxon (1933), Carroll Dickerson, Jimmie Noone, Roy Eldridge, Walter Barnes, Johnny Long (1939), and Zilner Randolph's W.P.A. Band. He also played on Johnny Dodds's last recordings in 1940.
In the 1940s he began playing less often, but his career saw a resurgence late in the 1950s, playing with Lil Armstrong. Moving back to his childhood home of New Orleans in the 1960s, he began playing at Preservation Hall where he would continue to be featured for the rest of his life. He played with Little Brother Montgomery in 1969 and with Kid Thomas's New Orleans Joymakers in Europe in 1973-74.
In addition to many recordings made as a side man, Jackson recorded as a leader in 1926 and 1946, then issued his own album in 1972 and a split album with Benny Waters the following year.
Jackson died in Blytheville, Arkansas in November 1983.
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 favorites band! - ”LIKE”
Labels:
Louisiana,
New Orleans,
PRESTON JACKSON UPTOWN BAND
Good Times Here, Better Down The Road - Joel Hopkins
by Rovi
b. 3 January 1904, Centreville, Texas, USA, d. 15 February 1975, Galveston, Texas, USA. An elder brother of Lightnin’ Hopkins, guitarist Joe learned his trade from Blind Lemon Jefferson when they travelled together during the 20s. Joel Hopkins spent most of his life working outside of music, but in 1947 he accompanied his brother Lightin’ on his famous Gold Star recording of ‘Short Haired Woman’. He resurfaced in 1959 to record a handful of archaic Texas blues for historian and folklorist Mack McCormick. The latter part of his life was spent in ill health, and he died from a heart attack in 1975.
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Labels:
Joel Hopkins,
Texas
Davidson County Blues - DeFord Bailey
DeFord Bailey (December 14, 1899 – July 2, 1982) was an American country music star from the 1920s until 1941. Bailey was both the first performer to be introduced as playing on the Grand Ole Opry and also the first African-American performer on the show. He played several instruments but is best known for his harmonica tunes.
A grandson of slaves, Bailey was born near the Bellwood community in Smith County, Tennessee, and learned to play the harmonica at the age of three when he contracted polio (or as it was called at the time 'infantile paralysis'). During his year-long confinement to bed he developed his distinctive style of playing. In 1918, he moved to Nashville performing locally as an amateur. His first documented radio appearance was June 19, 1926 on WSM in Nashville. On December 10, 1927, he premiered his trademark number, "Pan American Blues" on a show then known as the "WSM Barn Dance". At that time "Barn Dance" aired after NBC's classical music show, the "Music Appreciation Hour". While introducing Bailey, WSM station manager and announcer George D. Hay exclaimed on-air: “For the past hour, we have been listening to music largely from Grand Opera, but from now on, we will present ‘The Grand Ole Opry.’”
Bailey also had several records issued in 1927-1928, all of them harmonica solos. In 1927 he recorded for Brunswick records in New York City, while in 1928 he recorded eight sides for Victor in Nashville, of which three were issued on several labels, including Victor, Bluebird and RCA. Emblematic of the ambiguity of Bailey's position as a recording artist is the fact his arguably greatest recording, John Henry, was released separately in both RCA's 'race' and 'hillbilly' series.
THC marker near Bailey's birthplace in Smith County
Bailey was a pioneer member of the WSM Grand Ole Opry, and one of its most popular performers, appearing on the program from 1927 to 1941. During this period he toured with many major country stars, including Uncle Dave Macon, Bill Monroe, and Roy Acuff. Like other black stars of his day traveling in the South and West, he faced many difficulties in finding food and accommodation because of the discriminatory Jim Crow laws.
Bailey was fired by WSM in 1941 because of a licensing conflict with BMI-ASCAP, which prevented him from playing his best known tunes on the radio. This effectively ended his performance career, and he spent the rest of his life shining shoes and renting out rooms in his home to make a living. Though he continued to play the harp, he almost never performed publicly. One of his rare appearances occurred in 1974, when he agreed to make one more appearance on the Opry. This became the occasion for the Opry's first annual Old Timers' Show. He died on July 2, 1982 in Nashville. and is buried in Greenwood Cemetery there.
In 2005, Nashville Public Television produced the documentary DeFord Bailey: A Legend Lost. The documentary was broadcast nationally through PBS. Later that year, Bailey was inducted into the Country Music Hall of Fame on November 15, 2005. Joining him in the 2005 class were country-pop superstar Glen Campbell and the band Alabama. On June 27, 2007, the DeFord Bailey Tribute Garden was dedicated at the George Washington Carver Food Park in Nashville. The Encyclopedia of Country Music called him "the most significant black country star before World War II."
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Labels:
DeFord Bailey,
Tennessee
John Paul Jones/Jimmy Page/Foo Fighters/Led Zep

John Paul Jones (born John Baldwin on 3 January 1946) is an English multi-instrumentalist, songwriter, composer, arranger and record producer. Best known as the bassist, mandolinist, keyboardist, and co-songwriter for English rock band Led Zeppelin, Jones has since developed a solo career. A versatile musician, Jones also plays guitar, koto, lap steel guitars, autoharp, violin, ukulele, sitar, cello, continuum and the three over-dubbed recorder parts heard on Led Zeppelin's "Stairway to Heaven".
According to Allmusic, Jones "has left his mark on rock & roll music history as an innovative musician, arranger, and director." Many notable rock bassists have been influenced by John Paul Jones, including John Deacon, Geddy Lee, Steve Harris, Flea, Gene Simmons, and Krist Novoselic. Jones is currently part of the band Them Crooked Vultures with Josh Homme and Dave Grohl where he plays the bass, piano and other instruments.
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Labels:
Foo Fighters,
Jimmy Page,
John Paul Jones
Wednesday, January 2, 2013
Down in the Dumps - Valerie Wellington
Valerie Wellington (November 14, 1959 – January 2, 1993) was an African American, Chicago blues and electric blues singer and actress. Her 1984 album, Million Dollar $ecret saw her work with Sunnyland Slim, Billy Branch, and Magic Slim.In her early years, Wellington also worked with Lee "Shot" Williams. In a short career, she switched from opera to the blues.
She was born Valerie Eileen Hall in Chicago, Illinois, United States. Wellington trained as an opera singer, graduating from the American Conservatory of Music,but in 1982 took up singing the blues in her local Chicago clubs. Her work extended to the theater, where she undertook roles portraying earlier blues singers such as Ma Rainey and Bessie Smith. Wellington's opera training enabled her to project her voice to theater audiences. She appeared at the 1984 San Francisco Blues Festival, on the bill alongside Marcia Ball and Katie Webster.
Her recorded work blended the more traditional vaudeville approach with a contemporary Chicago blues format. Wellington appeared on a limited number of recordings, but her voice was used on several advertisements on both television and radio. Wellington's recording of "Whole Lotta Shakin' Goin On" was used on the soundtrack to the 1989 film, Great Balls of Fire!, in which she briefly appeared depicting Big Maybelle. In the same year, Wellington toured Japan, with Carlos Johnson.
Wellington died of a cerebral aneurysm in Maywood, Illinois, in January 1993, at the age of 33. She was interred at the Restvale Cemetery in Alsip, Illinois.
In 1995, Rooster Blues re-issued Million Dollar $ecret
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Labels:
Chicago,
Illinois,
Valerie Wellington
Early in the Morning - Speckled Red
Speckled Red (October 23, 1892 - January 2, 1973) was born Rufus Perryman in Monroe, Louisiana. He was an American blues and boogie-woogie piano player and singer, most noted for his recordings of "The Dirty Dozens", with exchanges of insults and vulgar remarks that have long been a part of African American folklore.
"I want all you women to fall in line"
"And shake yo shimmy like i'm shakin' mine"
"You shake yo shimmy and you shake it fast"
"If you can't shake the shimmy, shake yo' yes yes yes"
"You a dirty mistreater, a robber and a cheater"
"Stick you in a dozens and yo pappy is yo cousin"
"And yo mama do the lawdylawd"
Although the lyrics were sung rather than spoken, with its elaborate word play and earthy subject matter, "The Dirty Dozens" is considered in some respects an ancestor to rap music.
Speckled Red was the older brother of Piano Red, their nicknames derived from both men being albinos. The brothers were separated by almost a generation and never recorded together. Speckled Red and Piano Red both played in a raucous good time barrelhouse boogie-woogie style, although the elder Speckled Red played slow blues more often. Both recorded versions of "The Right String (But the Wrong Yo-Yo)", Speckled Red first in 1930, and the younger scored a big hit with the song 20-years later.
The family moved for brief periods during his early-to-mid teenage years to Detroit, Michigan, then Atlanta, Georgia after his father violated Jim Crow laws, before settling in Hampton, Georgia, where his birth was eventually registered some time later. The family itself, consisting of Perryman and 7 brothers and sisters, had little musical background, though Speckled Red was a self-taught piano player (influenced primarily by his idol Fishtail, along with Charlie Spand, James Hemingway and William Ezell, and inspired at his earliest point by Paul Seminole in a movie theatre) and also learned the organ at his local church.
By his mid-teens he was already playing house parties and juke joints, and moved back to Detroit in his mid-20s to play anywhere he could, including nightclubs and brothels, and was noticed by a Brunswick Records talent scout just before he left for Memphis, Tennessee, where he was located by Jim Jackson. It was here where he cut his first recording sessions, resulting in two classics for Brunswick in "Wilkins Street Stomp" and the hit “The Dirty Dozens”. The following year, 1930, he recorded again, this time in Chicago, Illinois, resulting in most notably “The Dirty Dozens No. 2,” which was not nearly as successful and the pianist was without a contract or label and again playing making the rounds at Memphis venues and St. Louis bars.
His 1938 session work in Aurora, Illinois with slide guitar player Robert Nighthawk and mandolinist Willie Hatcher for Bluebird Records was steady and long but also unsuccessful, and sometime after during the 1940s moved back to St. Louis and continued his career of playing taverns, as well working the public produce market doing manual labor until the servicemen returned home to heavy lifting jobs.
Charlie O'Brien, a St. Louis policeman and something of a blues aficionado who applied many of his professional investigative methods to track down old bluesmen during the 1950s, "rediscovered" Speckled Red on December 14, 1954, who subsequently was signed to Delmark Records as their first blues artist. He experienced a small revival of interest in his music during the late 1950s and 1960s, his abilities still considerable, and worked around the St. Louis-area jazz scene, regularly as the intermission pianist for the Dixie Stompers, performing concerts with Dixie Mantinee and the St. Louis Jazz Club, played the University of Chicago Folk Festival in 1961, went to Dayton, Ohio, with Gene Mayl's Dixieland Rhythm Kings, and toured Europe in 1959 with Chris Barber. Several recordings were made in 1956 and 1957 for Tone, Delmark, Folkways, and Storyville record labels.
His age, however, had become a factor, and the remainder of the 1960s saw scattered performances. He died on January 2, 1973, of cancer in St. Louis, at the age of 80.
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Labels:
Louisiana,
Rufus Perryman,
Speckled Red
Too Close To Heaven - The Davis Sisters feat. Ruth Davis
The Davis Sisters was an American gospel group founded by Ruth ("Baby Sis") Davis and featuring her sisters Thelma, Audrey and Alfreda. Imogene Greene joined the group in 1950, and was later replaced by Jackie Verdell when Greene left to join the Caravans.
The core of the group were biological sisters but over the decades some were replaced by non-related performers.
Ruth Davis - nicknamed Baby Sis, founded the group at age 17. She was the featured vocalist with a bluesy voice and could also play the piano but never did on stage. She was the creative brains behind the group's musical arrangements and was not afraid to try something new. Some of her gospel songs contain doo-wop vocal techniques culled from current rock and roll songs. One of her most unusual arrangements was "Earnestly Praying", whose music is a cover to a 1961 pop hit, "Tossing' and Turnin'". The Hammond organ's keyboard-instruments were cleverly used to fill in for other instruments used in the original song. Ruth died in 1970. Ray Charles' wife sang at her funeral, which was held at Cornerstone Baptist Church in Philadelphia, PA.
Alfreda Davis - She was the long-time business manager of the group. She always collected the money from the promoter before the Sisters entered the auditorium and she led the group on stage. She was the youngest sister who had started singing with them at age 10. She died in June 1990.
Thelma Davis - joined at age 15, one of the blood Sisters. Her biggest hit was "Jesus is a Waymaker". Unfortunately she died on January 1, 1956 at age 26 leaving behind her 3 children& husband James Blassingame. Post-partum she developed pneumonia and, anxious to support the group's performances, had begun touring too soon after delivery. Her funeral was held at Cornerstone Baptist Church in Philadelphia, PA.
Audrey Davis - another blood Sister. She married Curtis' brother, Wilburn Dublin. She had four children from a previous marriage and with her touring with her sisters, the child care issue added stress to the relationship and they eventually divorced.
Edna Davis - A blood sister, She sang at concerts but was never with the group at a recording session. She is deceased.
Bernard Davis - youngest blood brother, Business Manager
Curtis Dublin - pianist, joined the Davis Sisters group in 1947 when he was 19 years old. He played piano with a strong jazz, bouncy rag-time influence which many early church-goers were slow to accept as religious music in the very early 1950s. He lived on the second floor of the Davis family home in Philadelphia where he also died from a heart attack.
Jackie Verdell - joined at age 15. She was from Camden, New Jersey. As a child she had witnessed her father kill her mother and this left her with a degree of symptoms of Post Traumatic Stress Disorder. The Davis Sisters supported her emotionally and treated her as a blood-sibling. Originally she was singing with Rev. C.L. Franklin's traveling evangelistic troupe. The Davis Sisters were touring with Rev. Franklin and heard Jackie sing and were amazed at her powerful voice and delivery. At a program in Detroit, Michigan they asked Rev. Franklin to release her so they could hire her but he initially refused. They persisted and teenage Jackie Verdell became another Davis Sister and fit in perfectly. She had a solo career several times over the years and did some secular work. Her favorite song, "Kumbaya" was recorded on a Jesse Jackson program. She was nominated for a Grammy but did not win. She died in August 1991.
Imogene Green - soprano. Imogene was from Chicago, Illinois. She had sung with the Caravans, the Gospel All-Stars and another nationally-known gospel group. She died in July 1982.
Leila Dargan - hailed from Baltimore, Maryland. She is the 2nd lead vocal on the song: "On The Right Road" in the version recorded on RCA Victor LSP 2851 in 1964. She died in a house fire in the 1980s.
Cynthia Young - vocals. She also occasionally played the piano for the group after Curtis died.
The Davis Sisters' first professional recordings were made for the Apex label in 1947 and issued on 78 rpm records. In Philadelphia they came under the tutelage of Madame Gertrude Ward, the manager of the Famous Ward Singers, and they added "Famous" to their name at this time. Mother Ward had been recording the Ward Singers on Irvin Ballen's Gotham label since it had moved to Philadelphia in 1948. She introduced the Davis Sisters to him and he loved them and signed them immediately to the Gotham label. In 1949 they recorded Gotham #702, "In The Morning When I Rise". A later issue, Gotham #736 "Jesus Steps In", was covered by Mahalia Jackson on the Apollo label, and the flip side of #736, "Too Close To Heaven", was covered by Alex Bradford on Specialty Records and became a big seller for him. Another notable recording on Gotham was "Get Away Jordan" in which Curtis Dublin sings lead vocal and plays piano.
In 1955 changes took place at Gotham Record Company and Ballen Enterprises, which had their own record pressing plant in Philadelphia. Their continued existence was threatened by a copyright lawsuit over a rock and roll song. Mother Ward had met with great success on the Savoy label where her group was awarded a gold record for "Surely God Is Able" and it was not long before she convinced Ruth and the Sisters to sign with Savoy also. The Davis Sisters' perpetual hit and theme song: "Twelve Gates To The City", the title of their first album issued on Savoy as MG-14000, still sells today. Savoy issued many singles and albums of studio work by the Davis Sisters. Many people who had not seen them in a live concert got to know them and their music by listening to their Savoy albums on the radio or at home. The Davis Sisters were so popular around the world that Savoy continued to market and sell their old recordings even after they had left the label.
In the 1950s and 60's the Famous Davis Sisters continued to record and tour, using their Philadelphia home as a base of operations. In 1962 the Sisters got into some disagreements with each other and Baby Sis decided she needed more breathing space. She moved to New York City, got her own apartment and formed her own singing group named: "The Ruth Davis Specials of New York City". Herman Lubinsky, their record producer at Savoy, caught wind of this breech and smelled an opportunity to take advantage of this family spat. He signed the New York group to a recording contract and issued the album as "Ruth Davis and the Davis Sisters - On The Right Road", Savoy MG-14072, thinking an enthusiastic but unsophisticated record-buying public would not notice the discrepancy in the product despite its misleading billing. However, this little bit of treachery did not endear Lubinsky to the Sisters and they all left his label the next year for good.
Ruth made up with her sisters and they began touring together again as a family, just like in the old days. In 1964 their concert in Hot Springs, Arkansas was recorded by the prestigious RCA label, which had only recorded a few Afro-American gospel artists before, like Doris Akers and Clara Ward. The RCA album was their first recording in stereo because Savoy's studio did not have the technical capability at that time to engineer dual-channel stereo products. The album was issued as "The Davis Sisters Sing Authentic Southern Style Gospel - Recorded In Live Performance", RCA Victor LSP-2851, and had a color photograph on the cover of the Famous Davis Sisters in their choir robes singing around a microphone, reminiscent of the format of Savoy MG-14000, their first album which was issued almost ten years previously with much less professional photography and graphics.
Personnel changes occurred in the group in the 1960s also and all later recordings were made on regional labels about every five years up until around 1985: sometimes a single 45 rpm and sometimes an entire album, and sometimes not with the full group. Several sides were recorded for Ozzie Cadena's start-up label Choice Records in New Jersey after he, too, left Savoy Record Company. Their last full album in the 1980s was so popular that they re-pressed it to meet demand but they issued it with a different cover: one shows the group standing under a rainbow; the other album cover is a photograph of the Davis Sisters in front of a grand piano. Several television appearances are still available to the public on video websites and some older recordings are now reissued on compact disc. As of 2007, all of the Davis Sisters, their parents and siblings are deceased: only children and grandchildren and three inlaws survive.
Raised in the Fire-Baptized Holiness Church in Philadelphia, the Davis Sisters were one of the first female groups to sing "hard gospel" of the sort being pioneered by the Dixie Hummingbirds and other male quartets of the day. They achieved a big sound, managing to sound like a choir behind the lead singer by positioning themselves several steps behind the microphone.
The Famous Davis Sisters of Philadelphia was founded by Ruth Davis in 1945 in Philadelphia, Pennsylvania. Ruth had enlisted in the Women's Air Corp during World War II to fulfill her patriotic aspirations. During this time her musical and creative instincts came to the forefront of her personality and the nurturing of her artistic side conflicted with the strict military discipline required of WAC's. While she wanted to do her part to rid the world of the Axis evil and minimize Holocaust casualties, she was discharged by the military to Philadelphia in 1945 before the untimely demise of President Franklin Delano Roosevelt and Germany's capitulation. The end of the war was definitely in sight but Ruth was left with the task of carving out her place in the world as a young Afro-American woman in a world dominated by men. Ruth had been continually inspired by music and had heard the Wings Over Jordan Choir in the military, the old Southern-style male quartets on the radio, and heard the newly developing gospel sound in churches and on programs.
One day in Philadelphia it was raining, visibility was poor and as she was crossing a cobblestone street, she slipped on a trolley track in front of an oncoming trolley. She felt someone lift her up and assist her to the sidewalk underneath a store awning. When she turned around to thank them, no one was there. This experience initially startled her as she thought she was dreaming or in a daze like someone intoxicated, but then the Holy Spirit fell on her and made her realize that this was the answer to her prayer—to have a new purpose in life: to spread the Good News of salvation through Jesus Christ in song. She later realized what a blessing her discharge had been as she was given a headstart on her new career and unknown to her at the time, soon hundreds of thousands, possibly millions of military people would be discharged and sent home looking for new careers. She felt God had really laid His hand on her. Ruth stated to her family that her two musical inspirations, that encouraged her to become a singer, were Ira Tucker and Dinah Washington.
In 1945, immediately after the rain incident, Ruth rushed home and formed all her sisters into a religious singing group with her playing the piano. Alfreda was only 10 years old! Ruth was the spiritual motivator behind the group and had strong religious convictions and her faith fired the faith of her sisters even at their young ages. The girls used the old Baptist Hymnal, sheet music, and songs from the radio and practiced, practiced and practiced. The Davis Sisters finally made their debut at their parents' home in Philadelphia, PA. in 1946.
In Philadelphia the Davis Sisters lived on 8th Street at Susquehanna for many years. Later they moved to Cambria Street near 13th street. They started singing in churches and on programs and became popular. Ruth developed their stage positions around a central microphone to achieve a depth to their combined voices. Their first recording contract was signed in 1947.
Many local concerts were given at the "Met" Theatre in Philadelphia. The Sisters always packed the house and were always late arriving. People would wait at the door for them to arrive. They would look for Alfreda because she always led them in their march to the stage to begin singing. Their live performances were awesome and they would "tear the house down". Ruth Davis had such a powerful voice that she could just start up a song without any introduction or gimmicks. When she would sing "Shine On Me", she would throw her handkerchief in the air: the crowd would be ecstatic and many people were slain under the Spirit. When Thelma would sing "Jesus", the crowd really responded enthusiastically. The Davis Sisters' attire was usually plain choir robes and in the early days they were only accompanied by piano played by Curtis Dubin. The Famous Davis Sisters were involved in the evolvement of the a'capella quartet sound into female group singing with instrumental accompaniment.
Their fellow artists typically praised their singing as spirit-filled. Ruth Davis' solos were also overpowering in their own way; her recordings of songs such as "Jesus Steps Right In" and "Too Close to Heaven" disclose the glory of her instrument, a huge,wide ranging metallic contralto of great beauty and extraordinary power and force in squalling. The Davis Sisters attracted two great singers in their most fruitful periods to help fill out their sound: Imogene Green, who possessed a husky alto of great sensuous beauty and the phenomenal Jackie Verdell who replaced Green in 1955. She brought a mezzo-soprano of intense brightness and clarity to the group; few singers could match her in the mournful "gospel blues" genre; she would demolish churches with her renditions of "Lord Don't Leave Me" and "Following Him". The Davis Sisters also accompanied their singing with the rhythmic and sometimes spontaneous spirited choreography that other singers, such as Dorothy Love Coates and the Ward Singers later made famous; the Davis Sisters were heavily influenced at this time by Gertrude Ward, the organizing spirit behind the Ward Singers and a guiding light for gospel music in America. Ray Charles also modeled the sound of his backup group, the Raelettes, on groups such as the Davis Sisters and the Caravans.
The loss of Curtis Dublin was a crushing blow to the group but they were spiritually resilient and continued their mission to spread the gospel of Christ in song. No one could play like Curtis, with his unique style, speed and timing. The Hammond B-3 organ was more in use in gospel venues and helped fill in the gaps, even when another talented pianist accompanied the group. One by one, over the years, the Sisters themselves passed on to their Greater Reward, but the same Spirit that started the Davis Sisters also kept them going for four decades. Their determined spirit was typified by the title of one of their albums on the Savoy label: "Undaunted". The Famous Davis Sisters of Philadelphia have been unfairly characterized as being an unlucky group because some of their star members died during the group's tenure. The truth of the matter is they have fared about the same as other gospel groups. Very few of the gospel singing stars from the 1950s lived to be 60 years old, including Mahalia Jackson. The Davis Sisters started out during World War II and kept their group together with its original sound and recorded for four decades while maintaining the highest level of popularity on the gospel circuit.
In the 1970s, after Ruth, who was affectionately called Baby Sis, had passed, their agent booked the group into Washington Temple COGIC in Brooklyn, New York for a concert. This is the church home of the famed gospel pioneer Madame Ernestine Washington. They were late as usual and the driver was speeding on the New Jersey Turnpike heading towards NYC. Their car was stopped by a New Jersey State Trooper. The driver explained to the trooper that she was driving the Famous Davis Sisters to a concert and they were late. No other excuses or explanations were given. Then a miraculous intervention occurred: not only were they not ticketed, but the State Troopers escorted their car into New York City to the concert location in Brooklyn! They were still a little late but everything worked out fine. Everyone present felt that Baby Sis was still looking out after her group from beyond the grave!
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Labels:
Ruth Davis,
The Davis Sisters
Annie Mae - Elvin Bishop and Little Smokey Smothers
Little Smokey Smothers (January 2, 1939 – November 20, 2010) was an African American, Chicago blues guitarist and singer.
His elder brother, Otis (died 1993), was known as the bluesman Otis "Big Smokey" Smothers, with whom he was sometimes confused.
Albert Abraham "Abe" Smothers was born in Tchula, Mississippi, learned guitar at the age of 15, and relocated to Chicago two years later. He soon appeared on stage playing alongside Arthur “Big Boy” Spires, Magic Sam, Otis Rush and Lazy Bill Lucas. In 1958 he joined up with Howlin' Wolf, and played on Wolf's recording session for Chess Records the following year. Tracks Smothers contributed to included "I've Been Abused," "Howlin' for My Darling," and "Mr. Airplane Man."
In 1961 he founded Little Smokey Smothers and the Pipeplayers. He later met Paul Butterfield and became a founding member of the Paul Butterfield Blues Band. He was replaced in the band by Elvin Bishop, but developed a friendship that lasted a lifetime. Throughout the 1960s Smothers appeared with Buddy Guy, James Cotton, Earl Hooker, and Junior Wells. Musical opportunities dried up in the 1970s, and Smothers worked in construction. He recorded again, after several years break, in 1979 as part of Mojo Buford's Chicago Blues Summit album. He re-appeared in the 1980s with The Legendary Blues Band. Their 1989 recording, Woke up with the Blues, included contributions from Smothers.
In 1993, Bishop made a guest appearance on Smothers first solo album with the Dutch Black Magic label, Bossman! The Chicago Blues of Little Smokey Smothers. The recording also included work from Smothers' cousin, Lee "Shot" Williams. Bishop and Smothers played at the 1993 Chicago Blues Festival. Smothers had open heart surgery in 1995, but the following year issued Second Time Around. Smothers performed at the 1999 San Diego Blues Festival, and at a party for Mick Jagger's 55th birthday.
Alligator Records then issued That's My Partner (2000), a live album recorded in San Francisco, which saw Smothers reunited with Bishop. Smothers also appeared at the 2000 Chicago Blues Festival. He also featured in Martin Scorsese's 2003 television series The Blues, with excerpts from his live show. In 2006 Smothers and Bishop played live at the Ground Zero club in Clarksdale, Mississippi. Latterly Smothers experienced health problems, and had both legs amputated due to diabetes.
In 2009, Bishop compiled the benefit album, Chicago Blues Buddies, incorporating recordings made by Smothers and Bishop dating back to 1992. Proceeds from the album helped to pay for Smothers' medical costs.
On November 20, 2010, after a spell in a Chicago hospital, Smothers died of natural causes.
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Labels:
Elvin Bishop,
Little Smokey Smothers,
Mississippi
MIssissippi Jailhouse Groan - Rube Lacey
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Rev Rubin Lacey and wife (source: Harris' Blues Who's Who, p. 315; photographer: David Evans) |
Labels:
Mississippi,
Rube Lacey
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