DOCSLIB.ORG

5.9.11 Blues on The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
5.9.11 Blues on The IMMEDIATE RELEASE Blues on the Fox contact: AACVB Contact: Laurie DiBerardino 630.896.6666 public relations & marketing director BluesOnTheFox.com 630.897.5581 [email protected] Blues on the Fox in historic downtown Aurora just weeks away! 15th anniversary boasts stellar line-up, new location AURORA, Illinois (May 9, 2011) Celebrate the 15th annual Blues on the Fox music festival on June 17-18. Blues on the Fox, part of the Downtown Alive! Festival Series, offers an exceptional entertainment lineup, including Blues great Robert Cray and legendary Buddy Guy, on Friday, June 17 and Saturday, June 18. This year’s festival, presented by the historic Paramount Theatre, will take place at the North River Street Park on the banks of the scenic Fox River, just west of the Hollywood Casino Aurora in downtown Aurora. As part of the 15th anniversary this year’s talent will feature some past favorites including Eric Lindell on Friday at 6:30pm. His combination of sweet, blue-eyed soul, with foot-stomping R&B, swamp pop, funk and blues have won him critical and popular acclaim across the country. Robert Cray, a return Blues on the Fox performer, will take to the stage at 8:30pm. Cray’s soulful and creative guitar work has been a dominant force in blues. At 2:00 pm on Saturday, The Hix Brothers Junior All-Stars, featuring local students of the blues, will kick off the day, followed at 3:00pm.by Billy Branch and the Sons Of Blues (SOBs), based out of Chicago. This group is one of the hottest blues bands working today and consists of some of the finest bluesmen in the world. Kenny Neal, known as a modern swamp-blues master and multi-instrumentalist, that draws musically from the sizzling sounds of his native Louisiana will play at 4:45pm. Charlie Musselwhite, whose worldly-wise vocals, and rich, melodic harmonica playing will perform at 6:30pm.To top off this incredible lineup of talent, the internationally acclaimed, Grammy winner, Rock and Roll Hall of Fame inductee and Blues legend Buddy Guy will perform at 8:30pm. Buddy Guy is the world ambassador of the Blues and will kick the festival up to a level it has never experienced before. Performances end at 10:00 on both evenings. Each year Blues on the Fox celebrates the rich music history of the RCA Bluebird recordings that were made in the 1930’s at the Leland Hotel (now Fox Island Place) in downtown Aurora. In the famous Sky Club, literally hundreds of songs were recorded by John Lee ‘Sonny Boy’ Williamson, Tampa Red, Big Bill Broonzy, Big Joe Williams, Roosevelt Sykes, Yank Rachell and others. These recordings were groundbreaking and set the tone for the early urban Blues that later became so popular and formed the backbone for modern day Rock ‘n Roll. The Blues on the Fox festival commemorates these recordings. The historic Aurora downtown acts as a very pleasant backdrop to the two-day festival that includes not only great music but fantastic food, icy libations, music vendors and a relaxed atmosphere for the whole family to enjoy. The 2011 Blues on the Fox Festival is presented by the Paramount Theatre and sponsored in part by the City of Aurora and the Hollywood Casino. For more information, directions and artists’ biographies along with details on the complete Downtown Alive! Festival Series, please visit www.bluesonthefox.com or call A nominal entry fee of $5 daily will cover the cost of admission and a wristband for the consumption of alcohol at the festival. -END ABOUT THE AACVB: The Aurora Area Convention & Visitors Bureau serves as the tourism marketing and management organization for Aurora, Batavia, Big Rock, Hinckley, North Aurora, Montgomery, Plano, Sandwich, Sugar Grove and Yorkville. This not-for-profit organization provides numerous travel resources to visitors via the Web site at www.enjoyaurora.com and a toll-free number 1-800-477-4369. - END -.
Load more

Recommended publications
  • Winter 2019 Director’S Column
    WINTER 2019 DIRECTOR’S COLUMN If you’ll pardon a personal memory, I remember people who studied households, hearing a short news piece on the radio in, it had to have work and leisure, popular reli- been 1972, when I was twelve. It started, “And here’s a story gion, and what some French you may be hearing more about.” Of course it was about the scholars were calling mental- break-in at Democratic headquarters at the Watergate Hotel. ités. Avoiding kings, queens, For the next year and a half, I heard and read a lot and presidents, this was scholarship about things that more about that story. As a kid who wanted to be a mattered to me, especially in wake of how Watergate serious person, I was a fan of politics and political encouraged me to doubt not just the self-righteousness history as much as baseball, and I knew the names and but the very importance of the powerful. I could have parties of all of the presidents and their vice presidents, taken an alternative approach, writing for example, about who ran against them, and some of the major issues of Watergate and southern history (and now that sounds like their presidencies. As a twelve year old, that’s what I an intriguing conference), but in the 1980s my first US assumed history was. So I followed the Watergate news history survey classes rarely said much about presidents as I followed baseball, every day and with great detail. If and people like them. there had been box scores or trading cards for politicians, Pretty quickly there were scholars challenging parts I would have read and collected them.
    [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]
  • 2014 Festival Brochure
    Celebrating the Blues 2 days featuring 8 more days featuring Plus: healdsburgjazz.org AN EVENING OF JAZZ ON FILM WITH ARCHIVIST MARK CANTOR Co-Produced by Healdsburg Jazz and Smith Rafael Film Center SUNDAY, MAY 18 • SMITH RAFAEL FILM CENTER 1118 Fourth Street, San Rafael 6PM FILM AND Q&A 8PM Wine and Music Reception with PIANO JAZZ by KEN COOK Ticket Cost: Discount for current members of CFI and Healdsburg Membership Card required Film & Q&A: $15/$12 for members Film, Q&A and Reception: $25/$20 members Advance tickets online at cafilm.org or at the Rafael Box Office Film archivist extraordinaire Mark Cantor returns this year for a Healdsburg Jazz Festival tune-up,“Jazz Night at the Movies” at the Smith Rafael Film Theater in San Rafael. There could be no better way for festival goers seeking a little (or a lot) of history about the great American art form Healdsburg Jazz presents every year than by attending a screening by Mark. His collection of jazz film clips is over 4,000 strong, including all the greats from most genres of jazz, blues and jazz dance: Dizzy, Tatum, Ella, Bird, Trane, Satchmo, Billie— you name it. Mark will have words to say about each of the clips he screens, and afterward viewers are invited to chat with him during a music and wine reception with Ken Cook on piano. Ticket sales and seat reservations secured by credit card available by phone only. Adults $25, must be accompanied by a child. Student seats must be reserved by credit card.
    [Show full text]
  • Midwest Folk Volume 3 Issue 12 • Spring 2005 M Ark Dvorak Never Did Claim to Be from the Same Blood Line As the Great Antonin Dvorak (1841-1904)
    Mark Dvorak by Larry Penn Midwest Folk Volume 3 Issue 12 • Spring 2005 M ark Dvorak never did claim to be from the same blood line as the great Antonin Dvorak (1841-1904). When I asked him if he money to buy his first guitar, and take a motorcycle trip around the thought he was, he replied that, the name was common in country. He learned his first rudimentary chops in those long, hot Czechoslovakia. Still, I can’t help but believe that the Czech summer days, on a Harmony guitar with a biker friend, and anyone genius’ gene pool resides in Mark somehow. The DNA evidence is else who was willing to sit around and jam. After a trek of fourteen definitely there in Mark’s music. thousand miles, he went to work for Jewel Foods. By now, hopelessly hooked on guitar, he found himself signed up for a Over one hundred years ago, Antonin mined the Slavic folk spate of lessons at Chicago’s famous Old Town School of Folk traditions to create his compositions and cantatas. Today, Mark Music. His musical tastes were turning to Lead Belly, Woody finds himself immersed in the American folk tradition. So in some Guthrie, Big Bill Broonzy, the blues, and contemporary folk mystic way Mark is bringing the circle around, to repay Antonin’s artists like Pete Seeger, Peter, Paul and Mary and the everlasting debt to the music of the people. Besides, Mark’s great-grandfather Bob Dylan. If the advent of recorded music has given us the was born in Prague.
    [Show full text]
  • Ben Harper and Charlie Musselwhite Nightclub
    Ben Harper And Charlie Musselwhite Nightclub Posts about Carole King written by thedailyrecord. Mostrando entradas con la etiqueta Ben Harper. “It was heartwarming, because there’s a genuine affection for the Belly Up and the artists are able to support the club with these albums. Bobby Johnson - Get Up and Dance (2013) Funk, R&B, Soul | 320 kbps | MP3 | 148. We were so pleased to recieve the message that […] Do you like it? 16. Their first album, 2012’s Get Up! , spurred, at least in my mind at the time, comparisons to other blues and jazz artists such as John Lee Hooker and Muddy Waters. It’s the coolest makeover on the record, enigmatic and slinky as its originator. El llegendari músic va pensar que tots dos havien de tocar junts. Su destino Hamburgo, donde todavía vive con ochentaytantos años. Protoje, 9 p. 15 Dec 2019 - New at #TopMusic 7 days (15 Dec): 'The Way It Used To Be' by Trent Reznor & Atticus Ross; 'Nightclub' by Ben Harper & Charlie Musselwhite;. Download Ben Harper With Charlie Musselwhite "Get Up!" Now:iTunes: http://smarturl. Ben Harper & Charlie Musselwhite "When I Go": When I leave here I'll have no place to go And it's much too late to change my name I'm gonna take y. 08/03/2018 - Ben Harper & Charlie Musselwhite @ The Gothic Theatre - Englewood, CO Ben Harper & Charlie Musselwhite played the Gothic Theatre off Broadway to a sold out crowd last night. Get Up! is an album by the American musicians Charlie Musselwhite and Ben Harper , their twenty-ninth and eleventh album, respectively.
    [Show full text]
  • Woody Mann “Don’T Miss a Chance to See Him
    woody mann “Don’t miss a chance to see him. You are unlikely to hear anything or anyone better in the fields that Mann has chosen to master.” –THE LONDON TIMES Among guitarists and critics, Woody Mann is considered a modern master. While the blues are his touchstone, he seems to draw inspiration from every direction, blending a myriad of influences with ease and grace. Pioneering guitar legend John Fahey said it well: “You can hear classical, jazz and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called ‘great music’ Woody’s music would belong there. Woody received his first musical schooling in the living room of Reverend Gary Davis, the legendary blues, gospel and ragtime guitarist. Mann soon went on to perform with blues legends Son House and Bukka White, British great Jo Anne Kelly, and fingerstyle wizard John Fahey. Mann complemented the tutelage of Rev. Davis with formal training at New York’s celebrated Juilliard School. In addition, Mann completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz and its infinite possibilities. During this time, Mann’s early musical grounding began to blossom into an improvisational style all his own. Since then, Mann has pursued a rich and diverse career that has included; playing with jazz great Attila Zoller, accompanying songwriter Dory Previn, giving guitar lessons to recording artist Paul Simon, performing in over fifteen countries, and recording eleven albums ranging from 1994’s “Stories” to 2008’s “Road Trip”, as well as collaborations with blues legends Son House and John Cephas.
    [Show full text]
  • “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
    GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.
    [Show full text]
  • CONTACT: (312) 371 -5179 EMAIL: [email protected]
    ROB STONE &THE C•NOTES CONTACT: (312) 371 -5179 EMAIL: [email protected] www.robstone.com MANAGEMENT: Michael Frank AT Earwig Music Company TEL: (773)262-0278 EMAIL: [email protected] www.earwigmusic.com A LIVE PERFORMANCE BY ROB STONE CAN TRANSPORT THE LISTENER BACK TO THE HEYDAY OF CHICAGO BLUES. Fronted by Harp-playing vocalist ROB STONE and held together by a rock-solid rhythm section, the group is comprised of seasoned professionals with well over half a century of combined blues playing experience. They’ve paid their dues in the smoky Chicago blues joints and toured coast to coast across North America and Europe, as well as the Hawaiian islands and Japan, playing countless blues festivals, club dates and television appearances. Separately, the members of the group have recorded for the respected Alligator, Evidence, Hightone, Ice House, Marquis, Appaloosa and Magnum blues labels, and received national recognition in countless blues publications. These musicians have performed with and learned from many of the greats...and it shows from the first note. They are all authentic showmen with pure abil- ity to tear up a stage, as evidenced by their prominent role in the recent Martin Scorsese-produced “Godfathers and Sons” episode of The Blues series that aired recently on PBS stations natiowide. Together they now have a brand new release on Chicago’s Earwig label. As a vocalist Rob Stone is powerful, yet relaxed and natural; as a harmonica player he evokes the sounds of greats like Little Walter, Sonny Boy Williamson and Walter Horton. This band navigates their way effortlessly through one lean arrangement after another, from a soulful slow blues to a ferocious, driving slide guitar workout recalling past greats like Elmore James, Earl Hooker, and Muddy Waters, as well as all the blues harp legends from the hey- day of Chicago blues.
    [Show full text]
  • The American Blues in Britain
    THE AMERICAN BLUES IN BRITAIN OVERVIEW ESSENTIAL QUESTION In what ways did American Blues affect English musicians in the early 1960s? OVERVIEW “[Before the Beatles] The pop music in this country was very watery and weak, not worth talking about. Things like Cliff Richard.” – Pete Townsend of the Who on British popular music in the early 1960s This lesson looks at the Blues scene in England that prefigured the British Invasion. Though young people there were able to hear Bill Haley, Buddy Holly, the Everly Brothers, Little Richard, and other artists associated with early American Rock and Roll, the music they could call their own, British popular music, sometimes left them dissatisfied. As Pete Townsend describes in the epigraph above, he was among those who found the home offerings “watery and weak.” But if one thing marked the U.K. at that time, it was a respect for American music. Yes, for Rock and Roll -- but also for the Blues tradition. Artists who had never left the States came over to England, France, and Germany and found themselves welcomed and celebrated. American Bluesmen like Big Bill Broonzy found they could have careers in Europe when in the States they had little going on. Starting in 1962, the European interest in American Blues was fed by the American Folk Blues Festival, an annual touring festival that brought Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson, and many more to European audiences intermittently over the next few decades. In the audience for those first shows were future members of the Rolling Stones, Led Zeppelin, and other major acts of the 1960s and 1970s.
    [Show full text]
  • Review of Jim Bruce's Ragtime and Blues Guitar Picking Course
    Review of Jim Bruce's Ragtime and Blues Guitar Picking Course Learn to Play Finger Style Acoustic Blues Guitar Something great has happened for anybody wanting to learn how to play acoustic blues guitar. It's called Jim Bruce Ragtime and Blues Guitar Picking Course - From Texas to the Delta. Now there's a mouthful! So what is it? Well, pretty much as the title says, it's a guitar course for learning how to play ragtime and blues finger style acoustic guitar. Before I go on, let me just say this isn't something for the absolute beginner guitarist. If you aren't yet comfortable or reasonably fluent in playing common chords, then you probably aren't ready for this just yet, unless you are hyper determined! About the Course The course is quite straightforward. It jumps straight in and shows you how to play a collection of 40 blues songs from blues guitarists such as Blind Blake, Robert Johnson and Big Bill Broonzy to name but a few. Each of the songs are shown on video (MP4 format), first at normal speed and then broken down into small sections, played slowly. The video also uses split screen for showing the left and right hands independently and displaying on screen Tabs and chord diagrams. All of the songs also come with a printable pdf file with the full guitar Tab. Although Jim offers a few tips in the videos, you are expected to know certain things like how to read guitar tab and are already familiar with the basic chords.
    [Show full text]
  • Band/Surname First Name Title Label No
    BAND/SURNAME FIRST NAME TITLE LABEL NO DVD 13 Featuring Lester Butler Hightone 115 2000 Lbs Of Blues Soul Of A Sinner Own Label 162 4 Jacks Deal With It Eller Soul 177 44s Americana Rip Cat 173 67 Purple Fishes 67 Purple Fishes Doghowl 173 Abel Bill One-Man Band Own Label 156 Abrahams Mick Live In Madrid Indigo 118 Abshire Nathan Pine Grove Blues Swallow 033 Abshire Nathan Pine Grove Blues Ace 084 Abshire Nathan Pine Grove Blues/The Good Times Killin' Me Ace 096 Abshire Nathan The Good Times Killin' Me Sonet 044 Ace Black I Am The Boss Card In Your Hand Arhoolie 100 Ace Johnny Memorial Album Ace 063 Aces Aces And Their Guests Storyville 037 Aces Kings Of The Chicago Blues Vol. 1 Vogue 022 Aces Kings Of The Chicago Blues Vol. 1 Vogue 033 Aces No One Rides For Free El Toro 163 Aces The Crawl Own Label 177 Acey Johnny My Home Li-Jan 173 Adams Arthur Stomp The Floor Delta Groove 163 Adams Faye I'm Goin' To Leave You Mr R & B 090 Adams Johnny After All The Good Is Gone Ariola 068 Adams Johnny After Dark Rounder 079/080 Adams Johnny Christmas In New Orleans Hep Me 068 Adams Johnny From The Heart Rounder 068 Adams Johnny Heart & Soul Vampi 145 Adams Johnny Heart And Soul SSS 068 Adams Johnny I Won't Cry Rounder 098 Adams Johnny Room With A View Of The Blues Demon 082 Adams Johnny Sings Doc Pomus: The Real Me Rounder 097 Adams Johnny Stand By Me Chelsea 068 Adams Johnny The Many Sides Of Johnny Adams Hep Me 068 Adams Johnny The Sweet Country Voice Of Johnny Adams Hep Me 068 Adams Johnny The Tan Nighinggale Charly 068 Adams Johnny Walking On A Tightrope Rounder 089 Adamz & Hayes Doug & Dan Blues Duo Blue Skunk Music 166 Adderly & Watts Nat & Noble Noble And Nat Kingsnake 093 Adegbalola Gaye Bitter Sweet Blues Alligator 124 Adler Jimmy Midnight Rooster Bonedog 170 Adler Jimmy Swing It Around Bonedog 158 Agee Ray Black Night is Gone Mr.
    [Show full text]
  • The Ultimate Complete Michael Bloomfield Discography
    The Ultimate Complete Michael Bloomfield Discography Photo ©: Mike Shea/Patrick Shea Michael Bloomfield December 7, 1964 “The music you listen to becomes the soundtrack of your life....” Michael Bloomfield Feb. 13, 1981 Compiled by René Aagaard, Aalekaeret 13, DK-3450 Alleroed, Denmark – [email protected] www.the-discographer.dk - Copyright September 2015 Version 10 Michael Bernard Bloomfield was born July 28, 1943, in Chicago, Illinois and was found dead in his car in San Francisco, California on February 15, 1981. Between these dates he made a lasting impression on the world of music. Today he is still considered one of the greatest and most influential white guitarists from the USA. He learned by listening to all the great black musicians that played Chicago in the ’50s and early ’60s - people like Howlin’ Wolf, Muddy Waters, Big Joe Williams, Sleepy John Estes and many more. He was always eager to join them on stage and made quite a name for himself. He also played with many white musicians his own age, like Barry Goldberg, Charlie Musselwhite, Nick Gravenites and whoever toured Chicago. In the early ’60s, barely 20 years old, he was the musical director of a Chicago blues club called The Fickle Pickle. Here he hired many of the old, black blues legends, and he treated them so well that Big Joe Williams even mentions him in a song about the club, “Pick a Pickle”. In 1964 Michael Bloomfield was “discovered” by legendary producer John Hammond, Sr., who went to Chicago to hear and record Bloomfield, and then invited him to New York to audition for Columbia Records.
    [Show full text]