Bassist Ruth Davies, a Bay Area Native, Has Performed with Jazz And

Total Page：16

File Type：pdf, Size：1020Kb

Bassist Ruth Davies, a Bay Area native, has performed with jazz and blues greats Charles Brown, Clark Terry, John Lee Hooker, Bonnie Raitt, Jay McShann, Van Morrison, Maria Muldaur Junior Mance, Linda Tillery, Barbara Dane, Etta Jones, Elvis Costello, Eric Bibb, Ruthie Foster, Keb’ Mo’, Terry Gibbs, Jimmy Witherspoon and Little Jimmy Scott. Her discography (including several platinum and Grammy-winning recordings) covers jazz and blues styles as well as other genres and movie soundtracks. She has recorded with Charles Brown, Bonnie Raitt, John Lee Hooker, Van Morrison, Sammy Hagar, Clark Terry, Toots Thielemans, Ernie Watts, Elvin Bishop, Maria Muldaur, Clairdee, Tammy Hall, Jackie Ryan, Pamela Rose and Ramblin’ Jack Elliott, among others. Ruth has toured the world for more than 30 years, 10 years with the late Charles Brown, performing at major jazz and blues festivals, clubs and concerts as well as radio and television broadcasts worldwide. She continues to spend considerable time touring abroad, traveling and performing with Maria Muldaur, Elvin Bishop, Barbara Dane, Denise Jannah and Azerbaijani born pianist/composer Amina Figarova. For the last 10 years she has returned to the roots and traveled with the Elvin Bishop Band. Ruth has a Bachelor of Arts degree in Music and has spent more than 20 years with the San Francisco Symphony’s Adventures In Music program bringing educational music shows into all the elementary schools in San Francisco. She has also spent 20 years on the faculty of Stanford Jazz Workshop working with High School age students and has had a very successful annual “Ruth Davies Blues Night” at the Stanford Jazz Festival for the last 19 years running. Ruth is currently working as a teaching artist for the SFJAZZ education department working with middle school students. She is also involved with Pamela Rose’s projects bringing historical women blues and jazz composers and artists to audiences around the country. .

Copy Link

Recommended publications

Blues Notes October 2015
VOLUME TWENTY, NUMBER TEN • OCTOBER 2015 SELWYN BIRCHWOOD MARIA BSO Halloween Party MULDAUR Sat. Oct 31st Saturday @ 7 pm $10 Oct. 3rd 21st Saloon @ 6 pm Zoo Bar Lincoln, NE Oct. 1st ..................................................................Red Elvises ($10) Oct. 4th (Sunday @ 4 pm) ...The Nebraska Blues Challenge Finals ($5) Oct. 8th ................................................................ Eleanor Tallie ($10) Oct. 15th ................................................................ John Primer ($12) NEBRASKA BLUES CHALLENGE Oct. 22nd ...........................................Cedrick Burnside Project ($10) Oct. 29th .....................Gracie Curran & Her High Falutin’ Band ($10) FINALS COMPETITION Oct. 31st (Saturday @ 7 pm)..................... Halloween Party with the Selwyn Birchwood Band ($10) 21st Saloon, Omaha, NE Nov. 5th ................................................. The Bart Walker Band ($10) Sunday, Oct. 4th @ 4 pm • $5 cover Nov. 7th (Saturday @ 9 pm) ................................Sinners and Saints Nov. 12th ..................................................... Crystal Shawanda ($10) — More info inside — Nov. 19th ............................................. The Scottie Miller Band ($10) PAGE 2 BLUES NEWS • BLUES SOCIETY OF OMAHA Please consider switching to the GREEN VERSION of Blues Notes. You will be saving the planet while saving BSO some expense. Contact Becky at [email protected] to switch to e-mail newsletter delivery and get the scoop days before snail mail members! BLUES ON THE RADIO:
[Show full text]
A Conversation with Vassar Clements by Frank Goodman (Puremusic.Com, 8/2004)
A Conversation with Vassar Clements by Frank Goodman (Puremusic.com, 8/2004) Perhaps like many who will enjoy the interview that follows, among my first recollections of Vassar’s playing is the 1972 Nitty Gritty Dirt Band recording Will the Circle Be Unbroken. As long ago as that seems (and is), he’d already been at it for over twenty years! In 1949, although only 14 years old and still in school, he began playing with Bill Monroe, the father of bluegrass. Aside from a few years off early on to check out some other things, Vassar’s been playing music professionally ever since. He’s recognized as the most genre-bending fiddler ever. “The Father of Hillbilly Jazz” is a handle that comes from several CDs he cut at that crossroads, but you can hear jazz and blues in any of the playing he’s done. He grew up listening to big band and Dixieland, and still listens to a lot of it today. Vassar says that many of the tunes he writes or passages he’ll fly into in a solo come from half remembered horn lines deep in his musical memory. Between his beginnings with Bill Monroe and the Circle album, Clements did many years with Jim and Jesse and then years with the late and much loved John Hartford, a lifelong friend who gave him the legendary fiddle he plays today. Circle turned a whole generation of hippies and acoustic music fans on to his music, and the children of that generation are following him today, as his popularity continues to recycle.
[Show full text]
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival.
[Show full text]
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
[Show full text]
Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects.
[Show full text]
At the Renaissance
0 / / y n> o o Calif VinHERSPOOK gaps with piano commentary as the horns riff on to the final chorus. A slow roll from Mel and ’Spoon launches into the classic C. C. Rider with Webster in background first, then Mulligan murmuring on the second chorus. “Shoot that man, Catch that cannon-ball,” ’Spoon exhorts. Then Mulligan enters to play a thoughtful and meaningful solo that must be considered by many his best blues playing on record. After a throbbing Witherspoon cries, “Where did you stay last night?” both IHt RtSMSSWtt horns ride on to the coda. the club, Hifijazz’ artists and repertoire director Roll ’Em Pete is up tempo and jumping. Webster riffs H Dave Axelrod flipped, it is rumored. Actually, Lewerke was behind the vocal, then embarks on his solo with ’Spoon urging one step ahead of Axelrod. He had already spoken to Mulli¬ him on. Another vocal, then Jimmy announces “Leroy Vinne¬ gan about such an undertaking and the baritonist assuredly gar,” and the bassist takes a solo. The Tailor takes two solo dug the idea. choruses with Witherspoon announcing his name and after a In recent years the growth of the coffee-wine-and-beer From that point there was no further difficulty. The choice final vocal it’s “Bye, bye.” houses in Hollywood and environs has become a marked of Ben Webster as balancing horn man was really a foregone Side two kicks off in walking tempo with Rowles bringing phenomenon. Several years ago at a jazz concert I attended, conclusion. Axelrod had used Webster in Witherspoon’s in ’Spoon with an oddly happy lament, belting out Every the master of ceremonies remarked there were some 32 such accompanying group on the highly successful date recorded Day.
[Show full text]
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, ﬁxed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
[Show full text]
Reeves-Donegan Sell Sheet:Layout 1
NEW DVD RELEASE! www.arkadiadvd.com AS SEEN ON TV 2 Programs on Each DVD of the Acclaimed AD LIB SERIES PRE-ORDER DATE SEPTEMBER 12, 2008 STREET DATE SEPTEMBER 23, 2008 “Reeves can wrap her voice around a melody like few other current jazz singers, hitting the high notes, the low notes, and everything in between as she caresses every phrase Artists Featured in with palpable warmth and joy.” the Ad Lib Series: —Billboard Magazine Z Dianne Reeves Jimmy Smith Jon Hendricks Duke Ellington Z Dorothy Donegan O.C. Smith Freda Payne Stanley Turrentine Count Basie A Red Norvo About The Series SONG SELECTION Clora Bryant The Ad Lib Series is a collection of 46 concert TV programs Show # 38: Show # 5: Jimmy Witherspoon presentingJ the best Jazz, Pop and Blues artists showcasing their Love for Sale – Dianne Reeves Lady Be Good – Snooky Young Linda Hopkins I’ll Understand – Dianne Reeves On A Clear Day – Dianne Reeves Lionel Hampton skills with a Jazz flair. Seen on TV internationally, Ad Lib (filmed Marilyn McCoo Answer Me – Dianne Reeves Everything Must Change– Dianne Reeves in 1980) was the first musical television series recorded in Stereo. Kenny Burrell The Homes – Billy Childs & A Fine Madness I Cried For You – Count Basie & Helen Humes Ernie Andrews F Welcome to My Love – Dianne Reeves St. Louis Blues – Dianne Reeves & Snooky Young George Shearing Paul Smith DIANNE REEVES: THE EARLY YEARS 1 Hour plus Bonus Features Billy Childs With special guests Billy Childs and Snooky Young, and a DVD BONUS FEATURES: Marshall Royal classic perO formance from Count Basie and Helen Humes Dianne Reeves Biography Jerome Richardson Ad Lib Highlights Reel (16 min.) Willie Bobo Digitally Mastered Audio & Video Cab Calloway Carrying the legendary torch of Ella Fitzgerald and Sarah Ester Phillips Dolby Stereo Audio Vaughan, Dianne Reeves embodies the long Jazz tradition while Blossom Dearie Instant Access to Songs Damita Jo remaining S distinctive and original.
[Show full text]
Danny Marks Will Be Hosting the Maple Blues Awards Gala at Koerner Hall January 19
December 2014 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 30, No 12 Danny Marks will be hosting The Maple Blues Awards gala at Koerner Hall January 19 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 Xmas Gift Guide Loose Blues News Voxxy Lady Event Listings John’s Blues Picks Top Blues TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2014 BOARD OF DIRECTORS Derek Andrews (President), Jon Arnold (Executive), Gord Brown, Lucie Dufault (Secretary), Sharon Evans, Sarah French, Michael Malone (Treasurer), Jamie MacDonald, Ed Parsons (Executive), Norman Robinson, Paul Sanderson, Mike Smith (Executive), John Valenteyn (Executive) Musicians Advisory Council: Chris Antonik, Brian Blain, Gary Kendall, Lily Sazz, Mark Stafford, Suzie Vinnick Membership Committee: Michael Malone, Lucie Dufault, Gord Brown, Sarah French, Mike Smith, Debbie Brown, Ed Parsons, Norm Robinson, Nick Lanaro Volunteer Committee: Ed Parsons, Sharon Evans, Lucie Dufault Office Manager: Alice Sellwood [email protected] Office Assistant: Ivy Mairi Event Coordinator: Jordan Safer [email protected] Sponsorship Coordinator: Dougal Bichan [email protected] Webmistress: Janine Stoll Grants Officer: Barbara Isherwood Publisher/Editor-in-Chief: Derek Andrews Managing Editor: Brian
[Show full text]
PROGRAM-BOOK1.Pdf
LUMBER LAW 9TH ST 8TH ST 6TH ST 7TH ST TRANS CENTER MORNING 7/29 CALL BLDNG 7/29 LINDEN ST STRATA STRATA EAST F URO STRATA BAUM SCHOOL ARENA DECK CITY OF ART SPIRAL CENTER SYMPHONY DECK ARTSWALK ARTHAUS ON MEZZ DOWNTOWN RENAISSANCE BLENDED 7/29 ALLENTOWN MILLER ARTS PARK MARKET BLENDED STAGE SYMPHONY HALL COURT ST BRÜ HOTEL PPL ARTSWALK ART ALLEY DADDY’S FRUTTA BOWLS POCKET FARR CENTER PARK AIR PRODUCTS LOT STAGE TH E MAIN HAMILTON TWO STAGE CITY KIDS BEER CENTER TENT LVHN THE DIME ARTHAUS ART ZONE THREE RE:FIND PPL ONE CITY AMERICUS CITY TOWER GRAND PLAZA BEER CENTER HOTEL CENTER MONUMENT HAMILTON ST MISHKA MISHKA VENNY’S PIZZA BREW W MO’S EATERY BEER GARDEN BRÜ DADDY’S TOWER 6 L MUSEUM BELL HALL TACOS Y TEQUILA CITYPLACE IBERTY BELL BUTZ FIVE LCCC BEER & 520 APTS CORPORATE CITY HAMILTON 702 EVENT PLAZA ORKS CENTER LOFTS HAMILTON INFO TOWER BUILDING 6TH ST MAPLE BELL HALL 9TH ST 8TH ST FEGLEY’S 7TH ST 8TH & STAGE BIERGARTEN WALNUT STAGE GARAGE CENTER SQUARE CHURCH LOFTS EAST COMMUNITY GROSS MCGINLEY DECK CENTER SQUARE LOFTS WALNUT ST WEST 7/29 COMMONS WALNUT ST #BLUES2021 @DWNTWNALLENTOWN UPCOMING EVENTS OPENING WEEKEND PHANTOMSHOCKEY.COM AUG 16 experienceallentown.com | #experienceallentown FREE PARKING @ 8TH & WALNUT DECK SEPTEMBER 9 We’ll get through 2 tour times 5:30PM this together. 6:30PM Find out what we’re doing to help our community. Visit CapitalBlueCross.com Capital BlueCross is an Independent Licensee of the BlueCross BlueShield Association For More Information: www.actionpartyrentals.com Phone: 610-435-8900 #BLUES2021 @DWNTWNALLENTOWN Shemekia King Solomon Copeland Hicks Downtown Allentown is proud King Solomon Hicks, the 26-year-old guitar to present the “Queen of phenom from Harlem, New York is an the Blues”, Shemekia American guitarist, songwriter, and composer, Copeland as the who is fast becoming a household name.
[Show full text]
Blues Symphony in Atlanta Two Years Ago, Wynton Marsalis Embarked on a New Challenge: Fuse Classical Music with Jazz, Ragtime and Gospel
01_COVER.qxd 12/10/09 11:44 AM Page 1 DOWNBEAT DOWNBEAT BUDDY GUY BUDDY // ERIC BIBB // JOE HENRY JOE HENRY // MYRON WALDEN MYRON WALDEN DownBeat.com $4.99 02 FEBRUARY 2010 FEBRUARY 0 09281 01493 5 FEBRUARY 2010 U.K. £3.50 02-27_FRONT.qxd 12/15/09 1:50 PM Page 2 02-27_FRONT.qxd 12/15/09 1:50 PM Page 3 02-27_FRONT.qxd 12/15/09 1:50 PM Page 4 February 2010 VOLUME 77 – NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Contributing Designer Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
[Show full text]
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
[Show full text]