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Gualala Arts Presents with Bones Roadhouse: Thursday, December 31, 2009, 7:30 p.m. - 12:30 a.m. NEW YEAR’S EVE Rhythm and Blues Extravaganza at The Gualala Arts Center $45 Tickets Includes Roadhouse Finger food Buffet & Sushi Bar, Champagne Toast and party favors plus Surprises! No Host Bar Jackie Payne, Rhythm and Blues Gualala Arts and Bones Roadhouse presents a New Year’s Eve Rhythm and Blues Extravaganza at Gualala Arts Center on December 31 from 7:30 to 12:30 p.m., doors open at 7:00 p.m. World renown, Grammy award winning R&B artist Jackie Payne Band will perform with guest guitarist Pat Wilder at 9:00 p.m. with Mendo Rhythm & Swing playing from 7:00 to 8:30 p.m. Born on Sept. 26 1945, Payne first sang professionally at age 13 with the Allen Swing Band out of Atlanta and then an R & B group called The Serenaders. In 1963 he headed to Port Arthur, Texas, where he waxed his first side, “The Ballad Of JFK” as Little Jackie Payne. He served as a warm up act for Sam Cooke, Jerry Butler, Chuck Jackson and Albert Collins to name a few. He also sang with Collins’ group. In 1965, Willard Benton, aka “Funky Slim,” took Payne to Huey Meanx of Jet Stream Records to cut 8 sides including the regional hit “Go Go Train.” After a stint in the army in 1968, Payne headed to California and worked with Pee Wee Crayton and gigged with his own band for several years. During this time he also sang with the The Johnny Otis Show. Payne continued to play and pay his dues and finally got some more studio time. He contributed vocals to three songs on a Kenny “Blue” Ray disc called “In All My Life” and then cut his first disc for JSP Records. Tickets are $45 and include finger food buffet, a sushi bar (one plate included), champagne toast, party favors and surprise fun for everyone. Seating will be cabaret style. Two full service no host bars will be available. It is true that Bones is no more, as a building, but the spirit lives on. They put out the fire, but they didn’t put out the burning desire to have good food with friends. Look for them February 2010 in their new location... just follow the bouncin’ Bones! Sketches 2.

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Liagsdai-E Hortuaity
PAGE THREE FRIDAY, DECEMBER 12, 1952 ARIZONA SUN ’Pee Wee' Crayton PATRONIZE OUR And Band ADVERTISERS HießEEßThat OvS JgL COMING! Made Milwaukee Famous raP i^llia b^i|_ Hottest Blues Singer to Hit Full 12 oz. Can Musical Horizon Full 12 oz. Bottle - Full 32 oz. Quart ' Standard Mercantile Co. PEE WEE Wholesalers, Phoenix, Arizona £% Pee Wee Crayton is decidedly F. Gimbel Joins CBI Council the come-on attraction next week CRAYTON Bernard at the Riverside Ballroom, “Home Urban League of Name Bands.” If you’ve heard OF The National his popular recording of T-Bone Gimbel, of member of the executive commit- Bernard F. president Walker’s “I’m Still In Love With recently ac- tee of the American Retail Federa- Gimbel Brothers, Inc., You” on juke boxes, you won’t Com- tion. He is president and chair- cepted membership on the need any further to man of the New York Convention introduction merce and Industry Council of the this young vocalist’s unusual voice. League, the na- and Visitors Bureau and is active National Urban His “B'lues After Hours” and voluntary on many civic committees, includ- tion’s oldest inter-racial “Texas Hop” are still going strong, by ing the Mayor’s Committee on social agency, it was announced with other of his own compositions of Management Survey, Sub-Commit- Winthrop Rockefeller, chairman to be tee on Water Supply. yet released. the Council. Crayton, who is dated at River- nationally Composed of 27 known side for Thursday, December 18, manage- top of also plays a guitar and is backed working to ment, the Council is Global by a seven-piece unit of instru- the indus- / strengthen and extend mentalists.
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Wavelength Midlo Center for New Orleans Studies
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 8-1985 Wavelength (August 1985) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (August 1985) 58 https://scholarworks.uno.edu/wavelength/73 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. • • NEW ORLEANS MUSIC MAGAZINE THE STORY OF A REBEL AND HIS BIKE. ~ ( r. r. 4 I I I l PEE·WEE HERMAN Pee-wee~ 116 AD~etnlltle An ASPEN FILM SOCIETY I ROBERT SHAPIRO Production PEE-WEE HERMAN • PEE-WEE'S BIG ADVENTURE arstarring ELIZABETH DAILY • MARK HOLlON • DIANE SALINGER· JUDD OMEN music composed by DANNY ELFMAN executive producer WILLIAM E. McEUEN written by PHIL HARTMAN & PAUL REUBENS & MICHAEL VARHOL produced by ROBERT SHAPIRO and RICHARD GILBERT ABRAMSON directed by TIM BURTON [l]lr-="DOLBV~STERE0==""11® FROM WARNER BROS. ~ A WARNER COMMUNICATIONS COM PANY IPGIP'MEifTALGtBIUSYRSTEI-.1 lllloiEL£CTIDT!tPTIIU w C) ...sw ..... -..t... AIIItloht•"-'-~~'""-'""YNOT•turr-.E-~® The Adventure Begins Friday August 9th at a Theatre Near You. • • • r< '/JIV{)I(a JAU '' #/ . I .NA-Y k/OT .BE 1?.6C.Of?[J (({JJ, . THe 011/0~(£ J'ltL£ ISSUE NO. 58 • AUGUST 1985 f>U1111H<£ f'HE CR.t0/1 FOR. Of COURSE. t!JSPIR. ttJb f-IlS VERY R:W oF HIS' wl'm not sure.
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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.
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ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
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FOR IMMEDIATE RELEASE April 11, 2012 WALTER TROUT RETURNS
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INDUCTEES M NOMINEES
INDUCTEES m NOMINEES BUDDY HOLLY Bora diaries Hardin Holley September 7th, 1938 Lubbock, Texas Died February 3rd, 1959 d e a r Lake, Iowa From an autobiographical high-school essay by Day.” Their new, effortlessly rocking sound landed Buddy HoDv: “My Me has been what you might call them a contract with a New York company, Coral/ an uneventful one, and it seems there is not much of Brunswick, and a Top Five hit on both the pop and interest to tell. I have many hobbies. Some of R&B charts. Petty arranged for the prolific HoDy’s these are hunting, fishing, leatherwork, reading, work to be divided up by the labels: material bearing painting and playing western music. I have thought the Crickets’ name would be released on Brunswick, about making a career out of western music if I am and Buddy Holly would appear as a solo artist on Cor good enough, but I will just have to wait and see how al. One label’s single was often released on the heels of that turns out.” the other’s. Holly did try to make a career out of western mu Holly dissolved his relationship with Petty and the sic, forming the Western and Bop Band with class Crickets in October 1958, left Texas for the more so mates Bob Montgomery and Larry Welbom. Be phisticated milieu of Greenwich Village and married tween 1953 and 1955, they performed regularly on Maria Elena Santiago, to whom he proposed on their Lubbock radio station KDAV and recorded demos of first dale.
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Ornette Coleman and Harmolodics by Matt Lavelle
Ornette Coleman and Harmolodics by Matt Lavelle A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written and approved under the direction of Dr. Henry Martin ________________________ Newark, New Jersey May 2019 © 2019 Matt Lavelle ALL RIGHTS RESERVED ABSTRACT Ornette Coleman stands as one of the most significant innovators in jazz history. The purpose of my thesis is to show where his innovations came from, how his music functions, and how it impacted other innovators around him. I also delved into the more controversial aspects of his music. At the core of his process was a very personal philosophical and musical theory he invented which he called Harmolodics. Harmolodics was derived from the music of Charlie Parker and Coleman’s need to challenge conventional Western music theory in pursuit of providing direct links between music, nature, and humanity. To build a foundation I research Coleman’s development prior to his famous debut at the Five Spot, focusing on evidence of a direct connection to Charlie Parker. I examine his use of instruments he played other than his primary use of the alto saxophone. His relationships with the piano, guitar, and the musicians that played them are then examined. I then research his use of the bass and drums, and the musicians that played them, so vital to his music. I follow with documentation of the string quartets, woodwind ensembles, and symphonic work, much of which was never recorded.
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DOMINO Born Antoine Domino May 10Th, 1929 New Orleans, Louisiana
Cochran DOM INO Born Antoine Domino May 10th, 1929 New Orleans, Louisiana The New Orleans style of rhythm and blues that Harrison Verrett, taught Fats to play the piano. By Antoine “Fats” Domino grew up playing instantly be age 10, Fats was following in the illustrious footsteps came part of that brand-new thing called rock and of such New Orleans piano greats as Professor Long roll. So, to reach the burgeoning young music audi hair and Amos Milburn, performing for small change ence, Fats never had to break away from what was for in local honky-tonks. At 14, Fats got serious: he him a family tradition. dropped out of school, took a day job at a bedspring Although he was a Fifties star who could sell more factory and spent his nights in the dubs, often playing records than almost anyone but Ellvis Presley, Fats alongside his musical mentors. It was at the Hideaway was more inspirational than insurrectionary. Never Club that bandleader Bill Diamond dubbed him theless, even he couldn’t help generating som e contro “Fats,” for obvious reasons. It was also at the Hide versy. A 1955 dance at the Ritz Ballroom in Bridge away that Fats met trumpeter, bandleader and Impe port, Connecticut, at which Fats was scheduled to rial Records A&R rep Dave Bartholomew. Their first perform, was canceled by police because “rock and session together in 1949 produced “The Fat Man,” roll dances might be featured” — raising the specter of Fats’ first R&B hit: “They call me the Fat Man/Be- riots to the officers of the law.
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Musical Credits
EVOLUTIONARY BLUES: WEST OAKLAND'S MUSIC LEGACY MUSICAL CREDITS Appearances: (alphabetical order) Alabama Mike Betty Marvin Dalhart Johnson D’Wayne P. Wiggins E. Leon “Denianke” Williams Electra Kimble Price The Dynamic Miss Faye Carol Freddie W. Hughes Fantastic Negrito Geoffrey Pete Hartfield Brothers: Chauncey Crosby David C Hartfield, Sr. Robert Hartfield Isabel Wilkerson James A. Levi James C. Moore, Sr. Jesse James John Turk Lady Bianca Larry Payton Larry Vann Lee Hildebrand Lenny Williams Marvin Holmes Nicholas Harper Paul Tillman Smith Rickey Vincent Robert Geddins, Jr. Robert O. Self Ronald A. Wells Ronnie K. Stewart Sonny Rhodes Sugar Pie DeSanto "Terrible Tom" Bowden, Jr. Wylie Trass Advisors: Marvin Holmes James C. Moore, Sr. Bob Geddins Jr. Ronnie K. Stewart Lee Hildebrand Executive Producer: Michael A. Munson A Production of: KTOP A Co-Production of: Sarah Webster Fabio Center for Social Justice Director / Producer: Cheryl Fabio Editor: Meadow Holmes Cinematographer: Godofredo Dizon Research & Permissions: Tenisha Jones Voice Over: Lady Bianca Gaffer: Lane Starling Camera Operators: Michael Munson Shomari Smith Ben Mulholland Josh Kahn Audio: Meadow Holmes Michael A. Munson Shomari Smith Audio Post Production Berkeley Sound Artists Re-Recording Mixers James LeBrecht Dan Olmsted Dialog Editor Erik Reimers Sound Design Bijan Sharifi Fantasy Film Center Berkeley, CA Mix Tech Alberto Hernandez Graphics: Shomari Smith Color Correction: Meadow Holmes Ramiro Segura Tin Roof Productions Writer: T. Watts Additional KTOP Staff: LaTonda
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Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No.
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Ace Catalogue 2014
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Blues-Link 6 (July 1974)
blues~link INCORPORATING BLUES WORLD JULY 20p “ I Just Love Everybody” JOHN JACKSON INTERVIEW I was born in Rappahannock County, Virginia, and I grew up around the mountain section. Of course we had to work very hard with a big family, fourteen of us in the family. And father had to take us out to work when we got big enough to work, thinnin' corn, and cuttin' corn, and pickin' apples. You know, just different kinds of work around the farm, and we grew up with workin' people. Of course, after we got big enough, we had to tote walnuts, hull them out, crack the kernels out; to get clothes and shoes. And the scattered apple trees, what we called the wild apple trees, we would go pick those apples up, and wash them and spread them out on a tin roof, and peel the apples and cut them up in small slips, and we would call them dried apples; sell them for half went down and asked him his business. cent a pound. And after he got through talkin' with me, And then I used to trap a lot when I growed he wanted to know what we do around up, like catchin' pole cats, muskrats, here. So I got to tellin' him Daddy played 'possums and moles, minks, 'coons, foxes guitar and Mama played accordion or and that kind of thing, and made fairly french harp, and we pitch horse shoes and good money. The fur man would come play ball, and that kind of thing. So he said, around about every two weeks.
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