VJM 190 HT Auction
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Memphis Jug Baimi
94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline. -
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. -
Northern Terminus: the African Canadian History Journal
orthern Terminus: N The African Canadian History Journal Mary “Granny” Taylor Born in the USA in about 1808, Taylor was a well-known Owen Sound vendor and pioneer supporter of the B.M.E. church. Vol. 17/ 2020 Northern Terminus: The African Canadian History Journal Vol. 17/ 2020 Northern Terminus 2020 This publication was enabled by volunteers. Special thanks to the authors for their time and effort. Brought to you by the Grey County Archives, as directed by the Northern Terminus Editorial Committee. This journal is a platform for the voices of the authors and the opinions expressed are their own. The goal of this annual journal is to provide readers with information about the historic Black community of Grey County. The focus is on historical events and people, and the wider national and international contexts that shaped Black history and presence in Grey County. Through essays, interviews and reviews, the journal highlights the work of area organizations, historians and published authors. © 2020 All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means – electronic, mechanical, photocopying, microreproduction, recording or otherwise – without prior written permission. For copies of the journal please contact the Archives at: Grey Roots: Museum & Archives 102599 Grey Road 18 RR#4 Owen Sound, ON N4K 5N6 [email protected] (519) 376-3690 x6113 or 1-877-473-9766 ISSN 1914-1297, Grey Roots Museum and Archives Editorial Committee: Karin Noble and Naomi Norquay Cover Image: “Owen Sound B. M. E. Church Monument to Pioneers’ Faith: Altar of Present Coloured Folk History of Congregation Goes Back Almost to Beginning of Little Village on the Sydenham When the Negros Met for Worship in Log Edifice, “Little Zion” – Anniversary Services Open on Sunday and Continue All Next Week.” Owen Sound Daily Sun Times, February 21, 1942. -
A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 12-1994 A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement Michelle Margaret Viera Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the United States History Commons Recommended Citation Viera, Michelle Margaret, "A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement" (1994). Master's Theses. 3834. https://scholarworks.wmich.edu/masters_theses/3834 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. A SUMMARY OF THE CONTRIBUTIONS OF FOUR KEY AFRICAN AMERICAN FEMALE FIGURES OF THE CIVIL RIGHTS MOVEMENT by Michelle Margaret Viera A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of History Western Michigan University Kalamazoo, Michigan December 1994 ACKNOWLEDGEMENTS My appreciation is extended to several special people; without their support this thesis could not have become a reality. First, I am most grateful to Dr. Henry Davis, chair of my thesis committee, for his encouragement and sus tained interest in my scholarship. Second, I would like to thank the other members of the committee, Dr. Benjamin Wilson and Dr. Bruce Haight, profes sors at Western Michigan University. I am deeply indebted to Alice Lamar, who spent tireless hours editing and re-typing to ensure this project was completed. -
The Blues Scale
Blues Ukulele Workshop Four part workshop with songbook 1. Structure and feel of blues songs 2. Turnarounds and dominant 7ths 3. The blues scale 4. Putting it all together A web-based listening guide is also provided Accompanying songs for parts: 1. How Long Blues, Baby What You Want Me to Do 2. Red River Blues in G & E, 3. You Got to Move, Sitting On Top Of The World 4. See See Rider Trouble in Mind Review quizzes for, Big parts Boss 1 -3Man, Backwater Blues Recommended from ukeeducation.org Fingerpicking for uke Scales and Chords Fretboard learning tool Material compiled and arranged by Spencer Gay 2018 The Copyrighted songs provided free herein are for education and thus fall under FAIR USE This book is not for sale Blues The blues is a feelin’… a good man feelin’ bad – a woman waitin’ for her man – losin’ your lover. Singing the blues is a good way to lose them Also, it is the name of a common song format – whether 12 or 8 bar blues Lyrics often are in an AAB format; the first line is then repeated - the third explains or ties the thought together. Try creating some new lyrics of your own to see how this works. A If I feel tomorrow the way I feel to day From St. Louis Blues - W.C. Handy A If I feel tomorrow the way I feel today B ‘Gonna pack my grip and make my getaway Relative Chord Naming - Roman Numerals Chords can be identified relative to the root (the key in which the song is composed.) This is the one chord, shown in roman numerals, I. -
1996–Master's Level Seminar, American Music
Music 5644 (Summer I -- 1996) James Hepokoski Studies in 20th-C. American Music Required Purchases Ives, Charles E., Essays before a Sonata--purchase if possible: note: we have been informed that this is currently unavailable (out-of-print) Michener, James, Tales of the South Pacific. Recommended Purchase COMPACT DISCS: Robert Johnson: The Complete Recordings. [2 Columbia CD's, C2K 46222 ("Roots 'n' Blues" Series, 1990)]: your final paper will be concerned with some aspect of this; you will probably want to have your own copy. [Also recommended: COMPACT DISC: Legends of the Blues: Volume One [anthology: Blind Lemon Jefferson, Mississippi John Hurt, Blind Willie Johnson, Lonnie Johnson, Leroy Carr, Peetie Wheatstraw, Big Bill Broonzy, Muddy Waters, and others. Columbia CD, CK 46215 ("Roots 'n' Blues" Series, 1990)] ----------------------------------------------------------------------------------------------- This is a course devoted more to ideas, reading, thinking, discussion, and controversy, than to the mastery of large bodies of factual information. This is not a "survey" course. You will be assigned only a few pieces to listen to, but we shall consider most of them in some detail, as springboards for thought. Most of the material is from the period 1910-1950. The main questions to be faced are: What aesthetic/contextual/analytical "tools" do we need to "understand" differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? Accordingly, this course stresses critical reading and thinking, the examination of our own judgmental axioms, and the clear, mature presentation of ideas in written and spoken form. -
VJM 189 Hugo Van Der Laan
103 Early Blues/ In the Mornin', Session 10-006 E+ 104 Policy Blues/ I don't Know, Session 10-014 E- looks E+ but spots of light swish Hugo van der Laan 105 The Mississippi Mudder Sweet Jelly Rollin' Baker Man, De 7207 EE+/E 106 Alice Moore Too Many Men/ Don't Deny Me Baby Decca 7369 E- Van Beuningenstraat 53 D 107 Hand in Hand Women/ Doggin' Man Blues Decca 7380 EE+ 2582 KK Den Haag 108 Red Nelson Black Gal Stomp/ Jailhouse Blues the Netherlands BB 7918 E/EE+ 109 Joe Pullum Black Gal No. 4/ Robert Cooper, West Dallas Drag No. 2, buff Bluebird 5947 E- [email protected] light label damage sA/ large lipstick trace sB 105 J.H. Shayne Mr Freddy's Rag/ Chestnut Street Boogie Circle 1011 E-E 106 Pine Top Smith Brunswick album B-1102 E- Pinetop's Blues/ Boogie Woogie, Br 80008 E- Piano Blues 78’s for auction. Packing and air mail is 15 Euro, anywhere, for any I'm Sober Now/ Jump steady Blues amount of records. Payments by Eurotransfer, Bank transfer and Paypal. Br 80009 E- second masters Grading is aural, how they play with a ‘0028 stylus. E+ is the highest grade. 106 Speckled Red with Mandoline, Guitar, Try Me One More Time/ Louise Baltimore Blues, BB 8012E+ 107 Johnny Temple New Vicksburg Blues/ Louise Louise Blues 100 Albert Ammons' Rhytm Kings, Jammin' the Boogie/ Bottom Blues Decca 7244 E-/V+E- pdig restored audible 5' 12" Commodore 1516 E 108 Jinks Lee Blues/ Sundown Blues, BB 8913 E- 101 Leroy Carr with Scrapper Blackwell, My Woman's Gone Wrong/ looks V I Ain't Got No Money Now, Vo 02950 E- 106 Hociel Thomas with Mutt Carey sA, Go Down -
The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting. -
Chapter 10 Alan C
142 Psychobiographies of Artists Chapter 10 Alan C. Elms & Bruce Heller Twelve Ways to Say “Lonesome” Assessing Error and Control in the Music of Elvis Presley n the current edition of the Oxford English lyrics of “Are You Lonesome Tonight?” . IDictionary (2002), twenty-two usage citations [H]e sweats so much that his face seems to be include the name of Elvis Presley. The two earli- melting away. [T]he dissolving face . est citations, from 1956, show the terms “rock recalls De Palma’s pop-culture horror movie and roll” and “rockin’” in context. A more re- Phantom of the Paradise. (p. 201) cent citation, from a 1981 issue of the British magazine The Listener, demonstrates the usage As an example of biography, Albert Goldman of the word “docudrama”: “In the excellent (1981) concluded his scurrilous best-seller Elvis docudrama film, This Is Elvis, there is a painful with a description of the same scene: sequence . where Elvis . attempts to sing ‘Are You Lonesome Tonight?’” (The ellipses are He is smiling but sweating so profusely that the OED’s.) his face appears to be bathed in tears. Going This Is Elvis warrants the term “docudrama” up on a line in one of those talking bridges because it uses professional actors to re-enact he always had trouble negotiating, he comes scenes from Elvis’s childhood and prefame youth. down in a kooky, free-associative monologue But most of the film is straight documentary. The that summons up the image of the dope- “painful sequence” cited by The Listener and the crazed Lenny Bruce. -
Guitar Blues Book
Guitar Blues Book Ur-Vogel Jeholopterus spielt den Ur-Blues 13. November 2019 Vorwort Dies ist das persönliche Guitar Blues Buch von Hans Ulrich Stalder, CH 5425 Schneisingen. Die zur Webseite www.quantophon.com verlinkten Videos und Musikdateien sind persönliche Arbeitskopien. Ausser wenn speziell erwähnt sind alles MP3- oder MP4-Files. Hier vorkommende Blues-Musiker sind: Big Bill Broonzy geboren als Lee Conley Bradley am 26. Juni 1903 in Jefferson County (Arkansas), †15. August 1958 in Chicago, Illinois, war ein US-amerikanischer Blues-Musiker und Blues-Komponist. Lightnin’ Hopkins geboren als Sam Hopkinsan am 15. März 1912 in Centerville, Texas, † 30. Januar 1982 in Houston, Texas, war ein US- amerikanischer Blues-Sänger und Blues-Gitarrist. Er gilt als einflussreicher Vertreter des Texas Blues. Hans Ulrich Stalder © Seite 2 / 67 Champion Jack Dupree William Thomas "Champion Jack" Dupree, geboren am 23. Oktober 1909 in New Orleans, † 21. Januar 1992 in Hannover, war ein amerikanischer Blues-Sänger und Blues-Pianist. Sam Chatmon geboren am 10. Januar 1897 in Bolton, Mississippi, † 2. Februar 1983 in Hollandale, Mississippi, war ein US-amerikanischer Blues- Musiker. Er stammte aus der musikalischen Chatmon-Familie und begann – wie auch seine Brüder Bo und Lonnie – bereits als Kind, Musik zu machen. Leroy Carr geboren am 27. März 1905 in Nashville, Tennessee, † 29. April 1935 in Indianapolis, war ein US-amerikanischer Blues-Pianist und Sänger. Bekannt war er vor allem zusammen mit seinem langjährigen Partner, dem Gitarristen Francis "Scrapper" Blackwell, mit dem er als Duo auftrat und Aufnahmen machte. Elmore James geboren am 27. Januar 1918 in Mississippi, † 24. Mai 1963 in Chicago, Illinois, war ein US-amerikanischer Bluesmusiker. -
“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.