Bibliography

Total Page:16

File Type:pdf, Size:1020Kb

Bibliography Selected Bibliography In researching this book, I have consulted many periodicals, as well as liner notes to LPs and CDs. The following publications were particularly useful: Blues & Rhythm, Blues Unlimited, Bulletin du Hot Club de France, Come for to Sing, Jazz Journal, Jazz Monthly, Jazz Record, Juke Blues, La Revue du Jazz, Living Blues, Melody Maker, Musical Express (later New Musical Express), 78 Quarterly, and Sing Out! Also helpful were the following newspapers: Ames (Iowa) Daily Tribune, Chicago Defender, Chicago Maroon, and Iowa State Daily. Where I have cited specific articles or liner notes, the reference appears in the endnotes. Aldin, Mary Katherine. A Musical Journey: The Films of Pete, Toshi, and Dan Seeger. Vestapol VHS 13042. Asbell, Bernie. ―The Whisper of Big Bill Broonzy.‖ Melody Maker, February 8, 1958, 13. Asman, James. ―Frankly, I Am Disgusted!‖ Musical Express, September 28, 1951. Baldwin, James. Nobody Knows My Name: More Notes of a Native Son. New York: Vintage, 1993. ———. Notes of a Native Son. New York: Bantam, 1979. Balliett, Whitney. ―The Best Medicine.‖ In Collected Works: A Journal of Jazz, 1954–2000. London: Granta, 2000. Barbeau, Arthur E., and Florette Henri. The Unknown Soldiers: Black American Troops in World War One. Philadelphia: Temple University Press, 1974. Barretta, Scott. ―The International Jazz Archive, Eisenach, Germany.‖ Living Blues, no. 173 (July/August 2004): 84–85. Bastin, Bruce. Red River Blues: The Blues Tradition in the Southeast. 1986. Reprint, Urbana: University of Illinois, 1995. Bell, Graeme. Graeme Bell, Australian Jazzman: His Autobiography. Frenchs Forest, New South Wales: Childs & Associates, 1988. ———. ―They Like Non-Commercial Jazz.‖ Musical Express, October 12, 1951. Berkow, Ira. Maxwell Street: Survival in a Bazaar. Garden City, NY: Doubleday, 1977. Beyer, William. ―Langston Hughes and Common Ground in the 1940s.‖ American Studies in Scandinavia 23 (1991): 29–42. Bibliography for I Feel So Good: The Life and Times of Big Bill Broonzy by Bob Riesman-1 Borneman, Ernest. ―Big Bill Talkin‘.‖ Melody Maker, September 29, 1951. Botto, Silvio. ―Blues Memories: I primi concerti di blues in Italia: Il soggiorno italiano di Big Bill Broonzy.‖ Feelin’ Good, no. 11 (1987): 20–26. Brand, Pat. ―Silent Broonzy.‖ Melody Maker, February 22, 1958, 10. Brisbin, John. ―Jimmy Rogers.‖ In Rollin’ and Tumblin’: The Postwar Blues Guitarists, edited by Jas Obrecht, 115–52. San Francisco: Miller Freeman, 2000. ———. ―A Tribute to Sunnyland Slim.‖ Living Blues, no. 121 (May/June 1995): 51–62. Broonzy, Big Bill. ―Baby, I Done Got Wise.‖ Jazz Record, no. 42 (March 1946): 9–12. Reprinted in Selections from the Gutter: Jazz Portraits from ―The Jazz Record,‖ edited by Art Hodes and Chadwick Hanson. Berkeley: University of California Press, 1977. ———. ―Truth about the Blues.‖ Living Blues, no. 55 (Winter 1982/83): 17–20. ———. ―Who Got the Money?‖ Living Blues, no. 55 (Winter–Spring 1982): 21. Broonzy, Big Bill, and Yannick Bruynoghe. Big Bill Blues: William Broonzy’s Story as Told to Yannick Bruynoghe. London: Cassell, 1955. Also Bruxelles: Editions des Artistes, 1955; London: Jazz Book Club, 1957; New York: Oak, 1964; Paris: Ludd, 1987; New York: Da Capo, 1992; New York: Oak Archives, 2006. Page references are to the 1992 Da Capo edition. Brown, Tony. ―The Amazing Success Story of Chris Barber.‖ Melody Maker, January 5, 1957, 3. ———. ―Well Done! Broonzy Benefit.‖ Melody Maker, March 15, 1958, 3. Bruin, Leo. ―Big Bill Broonzy in Nederland.‖ Block, no. 76 (1990): 25–27. Bruynoghe, Yannick. ―Big Bill.‖ In Jazz Era: The Forties, edited by Stanley Dance, 61–63. London: MacGibbon & Kee, 1961. ———. ―Big Bill.‖ In This Is Jazz, edited by K. Williamson. London: Newnes, 1960. ———. ―Chicago, Home of the Blues.‖ In Just Jazz 2, edited by Sinclair Traill and Gerald Lescalles. London: Peter Davis, 1958. ———. ―In Chicago with Big Bill and Friends.‖ Living Blues, no. 55 (Winter 1982/83): 6–16. Bukowski, Douglas. Big Bill Thompson, Chicago, and the Politics of Image. Urbana: University of Illinois Press, 1998. Calt, Stephen. ―Anatomy of a ‗Race‘ Label. Part 2.‖ 78 Quarterly 1, no. 4 (1989): 9–30. Calt, Stephen, and Woody Mann. Do That Guitar Rag. Yazoo CD 1035. Bibliography for I Feel So Good: The Life and Times of Big Bill Broonzy by Bob Riesman-2 Calt, Stephen, and Gayle Dean Wardlow. ―Paramount‘s Decline and Fall, Part 5.‖ 78 Quarterly 1, no. 7 (1992): 7–29. Campbell, E. Simms. ―Blues.‖ In Jazzmen: The Story of Hot Jazz Told in the Lives of the Men Who Created It, edited by Frederic Ramsey Jr. and Charles Edward Smith. New York: Harcourt, Brace and Company, 1939. Reprinted with a new introduction by Nat Hentoff. New York: Limelight Editions, 1985. Page references are to the 1985 edition. Cash, Johnny, with Patrick Carr. Johnny Cash: The Autobiography. New York: HarperCollins, 1997. Charters, Samuel B. The Country Blues. New York: Rinehart & Company, 1959. Reprinted with a new introduction by the author. New York: Da Capo, 1975. Page references are to the 1959 edition. Chilton, John. Sidney Bechet: The Wizard of Jazz. New York: Oxford University Press, 1987. Clapton, Eric. Clapton: The Autobiography. New York: Broadway, 2007. ———. ―Eric Clapton Interviewed.‖ Guitarist, no. 233 (February 2003): 112–22. Cohen, Ronald D. Rainbow Quest: The Folk Music Revival and American Society, 1940–1970. Amherst: University of Massachusetts Press, 2002. ———. ―Wasn’t That a Time!‖: Firsthand Accounts of the Folk Music Revival. Metuchen: Scarecrow, 1995. ———, ed. Alan Lomax: Selected Writings, 1934–1997. New York: Routledge, 2003. Cohen, Ronald D., and Dave Samuelson. Songs for Political Action: Folk Music, Topical Songs and the American Left. Bear Family BCD 15720 JL. Cohn, Lawrence, ed. Nothing but the Blues. New York: Abbeville, 1993. Cohodas, Nadine. Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records. New York: St. Martin‘s Press, 2000. Collins, Lee. Oh, Didn’t He Ramble: The Life Story of Lee Collins, as told to Mary Collins. Edited by Frank J. Gillis and John W. Miner. 1974. Reprint, Urbana: University of Illinois Press, 1989. Cowley, John. ―Shack Bullies and Levee Contractors—Black Protest Songs and Oral History, Part 1.‖ Juke Blues, no. 3 (December 1985): 6–12. ———. ―Shack Bullies and Levee Contractors—Black Protest Songs and Oral History, Part 2.‖ Juke Blues, no. 4 (March 1986): 9–15. Bibliography for I Feel So Good: The Life and Times of Big Bill Broonzy by Bob Riesman-3 Cryer, Terry. One in the Eye. West Yorkshire, UK: Yorkshire Art Circus, 1992. Culver, John C., and John Hyde. American Dreamer: The Life and Times of Henry A. Wallace. New York: Norton, 2000. Dance, Stanley. ―Lightly and Politely: About Big Bill Broonzy.‖ Jazz Journal 4, no. 11 (November 1951): 2. Davies, Ray. X-Ray: The Unauthorized Autobiography. Woodstock, NY: Overlook, 1995. Dawbarn, Bob. ―Reunion at Broonzy Concert.‖ Melody Maker, March 22, 1958, 6. Deffaa, Chip. Blue Rhythms: Six Lives in Rhythm and Blues. New York: Da Capo, 2000. Demêtre, Jacques. ―Joshua était le meilleur!‖ Soul Bag 161 (Winter 2001): 22–25. Demêtre, Jacques, and Marcel Chauvard. Voyage au pays du blues/Land of the Blues. Levallois- Perret, France: CLARB/Soul Bag, 1994. Denning, Michael. The Cultural Front. London: Verso, 2000. Dewe, Mike. The Skiffle Craze. Aberystwyth, UK: Planet, 1998. Dixon, Robert M. W., John Godrich, and Howard W. Rye, eds. Blues and Gospel Recordings, 1890–1943. 4th ed. Oxford: Oxford University Press, 1997. Dixon, Willie. Remembering Big Bill: Soul Blues Sung by Big Bill Broonzy. Mercury SR 60905. Dixon, Willie, with Don Snowden. I Am the Blues: The Willie Dixon Story. New York: Da Capo, 1989. Dorson, Richard M. American Negro Folktales. Greenwich, CT: Fawcett, 1970. ———. Negro Tales from Pine Bluff, Arkansas, and Calvin, Michigan. Bloomington: University of Indiana Press, 1958. Drake, St. Clair, and Horace Cayton. Black Metropolis: A Study of Negro Life in a Northern City. New York: Harcourt, Brace and Jovanovich, 1945. Reprinted with an introduction by Richard Wright and a new foreword by William Julius Wilson. Chicago: University of Chicago Press, 1993. Page references are to the 1993 edition. Dregni, Michael. Django: The Life and Music of a Gypsy Legend. New York: Oxford University Press, 2004. Duberman, Martin Bauml. Paul Robeson. New York: Knopf, 1988. Dunaway, David King. How Can I Keep from Singing: Pete Seeger. New York: Da Capo, 1990. Dundes, Alan, ed. Mother Wit from the Laughing Barrel. Jackson: University Press of Mississippi, 1981. Bibliography for I Feel So Good: The Life and Times of Big Bill Broonzy by Bob Riesman-4 Ebony. ―Weep No More.‖ November 1958. Edgerton, Robert B. Hidden Heroism: Black Soldiers in America’s Wars. Boulder, CO: Westview Press, 2001. Edwards, David Honeyboy, with Janis Martinson and Michael Robert Frank. The World Don’t Owe Me Nothing: The Life and Times of Delta Bluesman Honeyboy Edwards. Chicago: Chicago Review Press, 1997. Ellington, Duke. ―Adventures of Duke on a Busman‘s Holiday.‖ Blue Note News 1, no. 7 (August 29, 1952). Escott, Colin, and David Evans. Sonny Boy Williamson: Bluebird Blues. BMG CD 82876 56156 2. Fassio, Edoardo. ―Big Bill Broonzy.‖ Il Blues, no. 53 (1995): 18–20. Feather, Leonard. Lil Green: Romance in the Dark. RCA LPV 574. Federal Writers‘ Project of the Works Progress Administration in the State of Arkansas. History of Jefferson County, Arkansas, c. 1940. Sections on ―Ethnography,‖ ―Education,‖ ―Educational Facilities,‖ ―Timber Industry—Redfield,‖ ―General Topography,‖ ―Negro Population—Farmers,‖ ―Tenant System,‖ and ―Economic Backbone of Jefferson County.‖ Fisher, Tom. ―Tight Like That.‖ In Encyclopedia of the Blues. Vol. 2, edited by Edward Komara, 992. New York: Routledge, 2006. Flerlage, Iola, and Ray Flerlage. Blues by Jazz Gillum. Folkways FS 3826. Ford, Robert. A Blues Bibliography. 2nd ed. New York: Routledge, 2007. Fryer, Peter. Staying Power: The History of Black People in Britain. London: Pluto Press, 1991.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • IDS 2935 Blues Music and Culture
    IDS 2935 Blues Music and Culture University of Florida, Quest 1 / Identities Class # 21783 (face-to-face) / # 27957 (on-line) Semester: Spring 2021 Time/Location: T (Tuesdays Periods 5-6) / MAT 0115 (Face to Face section only) R (Thursdays) / MAT 0004 Virtual, Asynchronous Viewings of Assigned Documentaries and Videos, Independent Study General Education Designations: Humanities, Diversity Credits: 3 [Note: A minimum grade of C is required for General Education credit] Class resources, supplemental readings, assignments and announcements will be available via Canvas [URL] Instructor: Timothy J. Fik, Associate Professor | Department of Geography [e-mail: [email protected] ] Tim Fik Summer 2019 Office Location: 3137 Turlington Hall | Office Hours: Tuesdays & Thursday (Live) / 9:00AM- 11:00AM (or by appointment, please e-mail); Geography Department Phone: (352) 392-0494 ask for Dr. Fik. Feel free to contact me anytime: [email protected]. This course was originally designed as a traditional face-to-face class with a focus on the written and spoken exchange of ideas and concepts relating to course material. Note, however, that the structure of this "hybrid" course will have both a live face-to-face (f2f) component and a virtual/Independent Study/Asynchronous viewing component this semester for students registered for the f2f section. Students will engage in a series of assigned readings, documentary viewings, and discussions (through written comments/communication with the instructor and one another). Students are encourage to discuss material with board posts, e-mail, and group/class discussions. Weekly office hours, assignments, and term projects offer additional opportunities for personal engagement with course materials and the Instructor.
    [Show full text]
  • WGLT Program Guide, August-September, 1998
    Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Fall 8-1-1998 WGLT Program Guide, August-September, 1998 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, August-September, 1998" (1998). WGLT Program Guides. 161. https://ir.library.illinoisstate.edu/wgltpg/161 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ·.·. time Blues . Summ . 1998 Program Gu1 'de for August / September GLT Staff Profile: Music Director p1iorities were together because I didn't want one thing to falter because of the other. and Blues Host, Marc Boon LK: What does it take to make a good blues DJ? MB:: Being able to connect with your audience. I know a lot of people in this Marc is a native of Central Illinois. While in high school, community who are the same age as I am and we all grew up listening to the same he studied theatre, but his heart eventually led him to music. I think with my particular blues, the shades I paint with, [ try to incorporate pursue his love of music. In 1985, he came to Illinois some of the old rock we used to listen to as kids. I think that'll really grab their ear State University and got a job at GLT as a part-time DJ.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound
    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
    [Show full text]
  • Sleepy John Estes with Noah Lewis & Yank Rachel / Gus Cannon
    Sleepy John Estes First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings Country: UK Released: 2002 MP3 version RAR size: 1878 mb FLAC version RAR size: 1650 mb WMA version RAR size: 1953 mb Rating: 4.1 Votes: 526 Other Formats: WAV MPC APE AHX AUD MP2 FLAC Tracklist Hide Credits Broken Hearted, Ragged And Dirty, Too 1-1 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* The Girl I Love, She Got Long Curly Hair 1-2 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Divin' Duck Blues 1-3 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* –John Estes* And Little Sarah 1-4 James Rachel* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin – James Rachel* Black Mattie Blues 1-5 –John Estes* Harmonica – 'Tee'Mandolin – James Rachel*Vocals, Guitar – John Estes* T-Bone Steak Blues –John Estes* And 1-6 Guitar – John Estes*Harmonica – 'Tee'Vocals, Mandolin – James James Rachel* Rachel* Chickasaw Special 1-7 –Noah Lewis Harmonica – Noah Lewis Devil In The Woodpile 1-8 –Noah Lewis Harmonica, Speech – Noah Lewis Milk Cow Blues 1-9 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Street Car Blues 1-10 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Expressman Blues 1-11 –John Estes* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin
    [Show full text]
  • Chicago Blues Guitar
    McKinley Morganfield (April 4, 1913 – April 30, 1983), known as Muddy WatersWaters, was an American blues musician, generally considered the Father of modern Chicago blues. Blues musicians Big Bill Morganfield and Larry "Mud Morganfield" Williams are his sons. A major inspiration for the British blues explosion in the 1960s, Muddy was ranked #17 in Rolling Stone magazine's list of the 100 Greatest Artists of All Time. Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug's Corner in neighboring Issaquena County, Mississippi in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid '40s, lists him as being born April 4, 1915. His grandmother Della Grant raised him after his mother died shortly after his birth. His fondness for playing in mud earned him the nickname "Muddy" at an early age. He then changed it to "Muddy Water" and finally "Muddy Waters". He started out on harmonica but by age seventeen he was playing the guitar at parties emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson.
    [Show full text]
  • Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?
    Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon.
    [Show full text]
  • Early Blues Bibliography
    EARLY BLUES BIBLIOGRAPHY In any selection of books the choice must inevitably be subjective as to what to include or exclude. This selection has ommitted some choices that other might have included. Also there are many articles, periodicals and magazines that provide information for the researcher that cannot be included here but are, perhaps, in Robert Ford's 'Blues Bibliography' or Edward Komara's '100 Books Every Blues Fan Should Have'. This selection is based very much on my own collection of books found in markets, second hand book shops but more recently through Amazon and the web site 'Abe Books' Many books are out of print, have reached the third, fourth or later edition but details are included here that will allow the collector to locate and purchase their own choice. I have not sought to comment on the accuracy, usefulness or expertise of each publication and care should be taken on choice of purchase as many are price inflated when a little more research will lead to better value for money. Where possible I have tended to provide details of hard cover books but many are also available in soft cover at a much reduced price. It should also be remembered that any list such as this is out of date the moment that it is produced. New books are regularly published. The University Presses of America provide a sound source of academic work under the general priciple of 'Publish or Perish' which reflects the wide range of books from the very simple history to the in depth difficult to read study of an aspect of my favourite genre of music - The Blues.
    [Show full text]
  • Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
    64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never
    [Show full text]
  • Inhaltsverzeichnis
    Inhaltsverzeichnis Vorwort 19 Einführung 21 Weshalb Sie dieses Buch lesen sollten 21 Wie man dieses Buch lesen sollte 21 Teil I: Was ist der Blues, und wie kann ich ihn erkennen? 22 Teil II: Wer ist wer im Blues 22 Teil III: Den Blues hören 22 Teil IV: Eine Zehner-Liste für Ausgebuffte 22 Teil V: Den Blues spielen 22 Icons in diesem Buch 22 Teitl Was ist Blues, und Wie kann ich ihn erkennen) 25 Kapitel 1 Wie man Sound und Stit des Blues erkennt 27 Weg mit überkommenen Vorstellungen! 27 Wir hören die wichtigsten Zutaten 28 Die Instrumente im Blues 28 Gitarre 29 Mundharmonika 29 Klavier 29 Schlagzeug 30 Baß 30 Blasinstrumente 30 Ein Wort zu den Texten des Blues 30 Kein Kneipenbummel: Wir untersuchen den 12-Bar-Blues 31 Wie Takte und Taktschläge definiert werden 31 Und was hat das mit der 12 zu tun? 32 Turnarounds 33 Den Takt halten 33 Shuffle 33 Slow Blues 33 Rock Beat 34 Titel mit allen drei Beats 34 Bibliografische Informationen digitalisiert durch http://d-nb.info/988248085 gescannt durch • Blues für Dummies • Kapitel 2 Der Blues hat Viele Schattierungen 35 Der klassische Female Blues 35 Jump Blues 37 Country Blues 38 Piano Blues 39 British Blues 40 Moderner elektrischer Blues 41 Moderner akustischer Blues 42 Rhythm & Blues und Soul-Blues 42 Regionale Blues-Stile 43 Chicago Blues 43 Delta Blues 45 Texas Blues 46 Memphis Blues 47 West Coast Blues 48 Louisiana Blues 49 New Orleans Blues 50 Kapitel 3 Die Verbindungen des Blues zu anderen Musikrichtungen 51 Jazz: Was war zuerst da - das Huhn oder das Ei? 51 R&B: Etwas Rhythmus für den Blues 52 Rock 'n' Roll: Der Blues bekam ein Kind..
    [Show full text]
  • Blues with a Feeling." Blues Unlimited, October
    blues with afeeling the Little Walter story Tony Glover, Scott Dirks, & Ward Gaines I~ ~~O~;~;~~~UP New Yorl< London Routledge Taylor and Francis Group 711 Third Avenue New York, NY 10017 Routledge Taylor and Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN contents acknowledgments v preface IX 1. night train I Louisiana 1920-43 2. good evenin' everybody 13 New Orleans/Helena, Arkansas: 1943-44 3. wonder harmonica king 23 St. Louis/Points South/Chicago: Summer 1943-46 4. ijust keep loving her 37 Chicago/Points South and/or St. Louis/Chicago: c.1946-48 5. ebony boogie 51 Chicago/Helena/Mississippi/Chicago: September 1948-Fall 1951 6. "juke" 71 Chicago Blues Turns a Corner: Winter 1951-52 7. diamonds and cadillac cars 91 Chicago/East and West Coasts/Southern States: January 1953-February 1954 8. you gonna miss me when i'm gone lIS Chicago/The South and East: February-Fall 1954 9. roller coaster 133 Chicago/Alexandria, Louisiana/Boston/Chicago: Fall 1954-Fall 1955 10. i've had myfun ISS Chicago/The South/Chicago: I)ecernber1955-I)ecernber1957 1I. crazy mixed up world 177 Chicago and On the Road: January 1958-Auturnn 1959 12. i ain't broke, i'm badly bent 2°3 Chicago: Fall 1959-February 1963 13. back in the alley 225 Chicago/London/San Francisco/Boston: Winter 1963-Fall 1966 14. mean old world 251 Chicago/EuropeIUK/Chicago: Fall 1966-February 1968 epilogue 275 1968-Present chronological recordings 285 sources and notes 297 bibliography 3°3 index 3°7 acknowledgments This book has been the result of many people's contributions
    [Show full text]