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Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects. -
Dallas String Band with Coley Jones: Three Unknowns, Vcl; Acc
MATCHBOX BLUESMASTER SERIES: SET 1: MSESET1 (6 albums) MSE 201 COUNTRY BLUES – THE 1st GENERATION (1927) Series Editor: Johnny Parth MSE 202 BUDDY BOY HAWKINS (1927-29) Notes: Paul Oliver MSE 203 BO WEAVIL JACKSON (1926) Produced by: Gef Lucena MSE 204 RAGTlME BLUES GUITAR (1928-30) Remastering from 78s: Hans Klement, Austrophon Studios, Vienna MSE 205 PEG LEG HOWELL (1928-29) MSE 206 TEXAS ALEXANDER VOL. 1 (1927-28) Digitising from vinyl: Norman White MATCHBOX BLUESMASTER SERIES: SET 3: MSESET3 (6 albums) MSE 213 MEMPHIS HARMONICA KINGS (1929-30) Original recordings from the collections of MSE 214 TEXAS ALEXANDER VOL. 2 (1928-29) Werner Benecke, Joe Bussard, Johnny Parth, Guido van Rijn, MSE 215 RAMBLIN' THOMAS (1928-32) MSE 216 COUNTRY GIRLS (1926-29) Bernd Kuefferle, Hans Maitner MSE 217 RUFUS & BEN QUILLIAN (1929-31) MSE 218 DE FORD BAILEY & BERT BILBRO (1927-31) With thanks to Mark Jones of Bristol Folk Publications for the loan of MATCHBOX BLUESMASTER SERIES: SET 4: MSESET4 (6 albums) MSE 219 JULIUS DANIELS – LIL McCLlNTOCK (1927-30) vinyl LP copies of the original re-issue series MSE 220 TEXAS ALEXANDER VOL. 3 (1929-30) MSE 221 PEG LEG HOWELL (1926-27) Sleeve Design: Bob Doling/Genny Lucena MSE 222 SANCTIFIED JUG BANDS (1928-30) MSE 223 ST. LOUIS BESSlE (1927-30) MSE 224 TEXAS ALEXANDER VOL. 4 (1934-50) Discographical details from Blues and Gospel Records 1902-1942 MATCHBOX BLUESMASTER SERIES: SET 5: MSESET5 (6 albums) by John Godrich and Robert Dixon MSE 1001 BLIND LEMON JEFFERSON (1926-29) MSE 1002 FRANK STOKES (1927-29) Considering the extreme rarity of the original 78s, condition is generally MSE 1003 BLIND BLAKE (1926-29) MSE 1004 BIG BILL BROONZY (1927-32) better than might be expected, but it must be borne in mind that only MSE 1005 MISSISSIPPI SHEIKS VOL. -
"Blues in the Night" Written by Rev
"Blues In The Night" Written By Rev. Suzanne Meyer Ireland's venerable rock band U2 is led by singer Bono. If you are not a rock fan you may know him as the debt relief advocate, a socially conscious musician, "the most secular of saints" according to Time magazine, and the winner of four Grammy Awards. Improbable as it may seem, he is also the author of an introduction to the Hebrew Psalms. As it turns out, Bono is a longtime fan of King David, the ancient Hebrew ruler who is said to have written the Psalms. This is an excerpt from Bono's introduction to the Psalms, published by Grove Press. Bono recalls: “At age 12, I was a fan of David. He felt familiar, like a pop star could feel familiar. The words of the Psalms were as poetic as they were religious, and he was a star—(a dramatic character, because) before David could fulfill the prophecy and become the king of Israel, he had to take quite a beating. He was forced into exile and ended up in a cave in some no-name border town facing the collapse of his ego and abandonment by God. But this is where the soap opera got interesting. This is where David was said to have composed his first Psalm—a blues. That's what a lot of the Psalms feel like to me—the blues. Man shouting at God—"My God, my God, why has Thou forsaken me? Why art thou so far from helping me?" (Psalm 22). -
Bio Dave Alvin and Jimmie Dale Gilmore
Dave Alvin & Jimmie Dale Gilmore Downey to Lubbock Biography written by: Joe Nick Patoski Downey, California to Lubbock, Texas is a thousand-mile straight shot across the heart of the American West, with not much in between. The cities at each end of the line are one-time cowtowns that grew into symmetrically-platted working-class communities with very little to interrupt the horizon plane, making for big empty canvasses that require a vivid imagination to fill in all that blank space. Dave Alvin from Downey and Jimmie Dale Gilmore from Lubbock have been filling canvasses with music of the American West for decades, coming from two very different directions. The title track explains Alvin is a Strat-packing, wild blues Blaster, a nod to the roots rock band he formed with his brother Phil in 1978 before Dave peeled off to go his own way in 1986. He’s been part of the bands X, the Knitters, and the Flesh Eaters, tours relentlessly with his own band, the Guilty Ones, and continues apace on musical quests informed by his love of California and its history, and by Texas and the South, where most of the great music that was made in Los Angeles before and after the Second World War came from. Gilmore is the old Flatlander from the Great High Plains, acknowledging his first group, the folk-country trio formed in Lubbock 1972 with Joe Ely and Butch Hancock who continue performing and recording today. In addition to the Flatlanders and an extended solo career, he has been part of several ensembles including the Hub City Movers and The Wronglers with Warren Hellman, who started the Hardly, Strictly Bluegrass Festival in San Francisco. -
March 2020 BLUESLETTER Washington Blues Society in This Issue
LETTER FROM THE PRESIDENT Hi Blues Fans, WASHINGTON BLUES SOCIETY Proud Recipient of a 2009 As I write this month’s Keeping the Blues Alive Award letter to the membership, I’m thinking what a lucky person I am. I have a great 2020 OFFICERS group of people working President, Tony Frederickson [email protected] with me at the Washington Vice President, Rick Bowen [email protected] Blues Society! The Board of Secretary, Marisue Thomas [email protected] Directors and Committee Treasurer, Ray Kurth [email protected] Members volunteer their time Editor, Eric Steiner [email protected] and talents because they have a passion for music. Blues music specifically! We work hard to serve the members of the society and 2020 DIRECTORS our communities. Our membership truly directs our activities by Music Director, Amy Sassenberg [email protected] being actively involved in expressing their opinions and ideas to Membership, Chad Creamer [email protected] us. This past few months I have received a lot of questions from Education, Open [email protected] members and non-members as to how the Best of the Blues Awards Volunteers, Rhea Rolfe [email protected] process works. So I thought I would take a few minutes and explain Merchandise, Tony Frederickson [email protected] the process. Advertising, Open [email protected] The Board of Directors does not select the nominees! That is done by the members when they fill in their nomination ballots. It is one THANKS TO THE WASHINGTON BLUES SOCIETY 2020 STREET TEAM of the perks of membership. We receive lots of these ballots and Downtown Seattle, Tim & Michelle Burge [email protected] compile all the nominees and how many nominations they each North Sound, Malcolm Kennedy [email protected] receive, a long and time-consuming task. -
Angelique Francis Is a Featured Vocalist November 28 at Massey Hall
November 2015 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 31, No 11 Angelique Francis is a featured vocalist November 28 at Massey Hall CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA Nominees Announced Loose Blues News Angelique Francis at WBR Event Listings John’s Blues Picks Top Blues TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2015 BOARD OF DIRECTORS Derek Andrews (President), Jon Arnold (Executive), Gord Brown, Lucie Dufault (Secretary), Sharon Evans, Sarah French, Michael Malone (Treasurer), Jamie MacDonald, Ed Parsons (Executive), Norman Robinson, Paul Sanderson, Mike Smith (Executive), John Valenteyn (Executive) Musicians Advisory Council: Chris Antonik, Brian Blain, Gary Kendall, Lily Sazz, Mark Stafford, Suzie Vinnick Membership Committee: Michael Malone, Lucie Dufault, Gord Brown, Sarah French, Mike Smith, Debbie Brown, Ed Parsons, Norm Robinson Volunteer Committee: Ed Parsons, Sharon Evans, Lucie Dufault Office Manager: Alice Sellwood [email protected] Office Assistant: Ivy Farquhar-McDonnell Event Coordinator: Jordan Safer [email protected] Sponsorship Coordinator: Dougal Bichan [email protected] Webmistress: Janine Stoll Grants Officer: Barbara Isherwood Publisher/Editor-in-Chief: Derek Andrews Managing Editor: -
Low Down Dirty Blues R3
PLAY GUIDE 2017 2018 About ATC …………………………………………………………………………………..… 1 Introduction to the Play ………………………………………………………………………... 2 Song List …………………………………………………………………………………….. 2 Meet the Creators ………………………………..…………………………………………….. 3 Meet the Characters ……………………………………………….……………………..…… 4 History of the Blues ……………..……..……………………………………………………… 4 Blues Around the World …..……..……………………………………………………………… 6 Who’s Got the Blues: References in the Play …..……..…………………………………………… 7 Glossary ……………………………………………………………………………………… 9 Discussion Questions & Activities ………………………………………………………………. 10 Low Down Dirty Blues Play Guide by Katherine Monberg, with contributions from ATC Learning & Education staff. SUPPORT FOR ATC’S LEARNING & EDUCATION PROGRAMMING HAS BEEN PROVIDED BY: APS Rosemont Copper Arizona Commission on the Arts Stonewall Foundation Bank of America Foundation Target Blue Cross Blue Shield of Arizona The Boeing Company City of Glendale The Donald Pitt Family Foundation Community Foundation for Southern Arizona The Johnson Family Foundation, Inc. Cox Charities The Lovell Foundation Downtown Tucson Partnership The Marshall Foundation Enterprise Holdings Foundation The Maurice and Meta Gross Foundation Ford Motor Company Fund The Max and Victoria Dreyfus Foundation Freeport-McMoRan Copper & Gold Foundation The Stocker Foundation JPMorgan Chase The WIlliam L. and Ruth T. Pendleton Memorial Fund John and Helen Murphy Foundation Tucson Medical Center National Endowment for the Arts Tucson Pima Arts Council Phoenix Office of Arts and Culture Wells Fargo PICOR -
All About the Blues Series Blues in the Schools Implementation And
All About The Blues Series All About The Blues Series Blues in the Schools Implementation and Scheduling Guide By Fruteland Jackson Our motto “Try, Trust and Triumph” Fruteland Jackson 11961 S Ridgeway Ave #4 Chicago, IL 60803 773-575-3459 Www.Fruteland.com TABLE of CONTENTS Introduction ---------------------------------------------------------------------2 Blues in the Schools Programs FAQ Program Benefits--------------------------------------------------------------3-4 Getting Started Mission Statement --------------------------------------------------------------5 About the Program -------------------------------------------------------------5 How to Select Students for Blues in the Schools Programs The Lecture/performances-Sample Outline-------------------------------------6 The Artist Residency-----------------------------------------------------------7, 8 The Syllabus and Schedule (Sample) -----------------------------------------9, 10 The Preparation and Practice Music Introduction--------------------------------------------------------------11 Introduction and Program Description-------------------------------------11, 12 The Showcase-------------------------------------------------------------------13 The Equipment------------------------------------------------------------------13 Certificate of Participation------------------------------------------------------14 Course Guide Lesson Plan Outlines -----------------------------------------------15, 16,17,18,19 Program Continuation-------------------------------=--------------------------20 -
Blumer-Program.Pdf
Liz Courteney Rabson Lynn Schnore Wilds Reverend Mary Elizabeth Micari Dan Furman Nori Naraoka Directed & Produced by “Telephone Man” Reverend Mary Elizabeth Micari Written and Originally Sung by Meri Wilson in conjunction with Courteney Lynn Wilds and Dan Furman & Co. Genesis Repertory Ensemble, Inc. “My Handy Man” by Andy Razaf Arrangements by Dan Furman Originally Sung by Ethel Waters Costumes provided by Rev. Mary & Co. Reverend Mary & Co. Lighting and Sound by The Duplex “You Stole My Cherry” The Band Originally Sung by Lil Johnson & Black Bob Vocals and Percussion: Reverend Mary Liz Rabson-Schnore & Co. Vocals: Courteney Lynn Wilds Vocals, Ukulele, Harmonica: “Keep Your Hands Off It” Liz Rabson-Schnore Originally Sung by Lil Johnson & Black Bob Vocals, Piano: Dan Furman Courteney Lynn Wilds & Co. Bass : Nori Naraoka “Kitchen Man” by Bessie Smith, Andy Razaf, “Mighty Tight Woman” by Sippie Wallace Hezekiah Jenkins, Clarence Williams, Alex Reverend Mary & Co. Belldna (Edna B. Pinkard used the name Alex Belledna for her musical works) “King-Sized Papa” Originally Sung by Bessie Smith by Johnny Gomez & Paul Vance Reverend Mary Originally sung by Julia Lee Courteney Lynn Wilds & Co. “Sam The Hot Dog Man” Originally Sung by Lil Johnson & Black Bob “Stavin Chain” originally sung by Lil Johnson Reverend Mary Liz Rabson-Schnore “It Ain’t the Meat it’s the Motion” “A Guy What Takes His Time” by Henry Glover by Ralph Rainger Originally Sung by Maria Muldaur Originally Sung by Mae West Reverend Mary Reverend Mary “Sugar in My Bowl” by Clarence Williams, “My Daddy Rocks Me” James Tim Brymn, Dally Small Originally Sung by Trixie Smith & Mae West Originally Sung by Bessie Smith Reverend Mary & Co. -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
Folklore, Music, and History
Southern Music History 571 & FOLK 571 William Ferris T/Th, 8:00-9:15 a.m. 035 Graham Memorial TA: Susan Hester 412 Hamilton Hall Office Hours: by appointment [email protected] cell: 980-254-6985 William Ferris Office Hours: by appointment 412 Hamilton Hall 919-962-5538 [email protected] Southern Music The American South is built on many cultures, including African, Native American, South American, English, French, and Caribbean. Southern Music reflects the region‘s politics, joy, struggle, religion, poverty, art, resistance, blistering heat, cooling rain, and cornbread, greens and iced tea. Its instruments range from a one-stringed guitar nailed to the wall of a cabin to a full orchestra in a concert hall. Enjoy the feast. Go to the people. Live among them. I said where I come from Learn from them. It‘s cornbread and chicken Love them. Where I come from a lotta front porch sittin‘ Plan with them. Where I come from tryin‘ to make a livin‘ Start with what they know. And workin‘ hard to get to heaven Build on what they have. Where I come from Kwame Nkrumah, former leader of Ghana Alan Jackson, “Where I come from” & major spokesman for modern Africa. When Ma Rainey Comes to town, Folks from anyplace Miles aroun‘, From Cape Girardeau, Poplar Bluff, Flocks in to hear Ma do her stuff; Comes flivverin‘ in, Blues actually is around you every day. That‘s just Or ridin‘ mules, a feeling within a person, you know. You have a Or packed in trains, hard time and things happen. -
Hugo Van Der Laan Co 14300 V+ to E-/V+ Dallas 1927, Her First
124 Blind Boy Fuller, Georgia Ham Mama/ Oozin' You off My Mind Vocalion 04315 V/V-V (small scratches on labels) 125 Lillian Glinn All Alone and Blue/ Come Home Daddy Hugo van der Laan Co 14300 V+ to E-/V+ Dallas 1927, her first. composer credit: Burleson. Hattie's? Good tuba 126 Brown Skin Blues/ Doggin' Me Blues, Co 14275 E-/V+ Van Beuningenstraat 53 D same session 127 Where Have All the Black Men Gone?/ Shake it Down 2582 KK Den Haag Columbia 14315 V- (sA very scuffed, partly restored) the Netherlands 128 Rosa Henderson, Down South Blues/ Where, Vo 14635 V+ to E- 129 Hey Hey and He He, I'm Charleston Crazy/ Do Right Blues, Vo 14770 E- [email protected] 130 Get it Fixed/ Poplar Bluff Blues, Vo 15044 V+E- 131 Struttin' Blues/ Low Down Papa, Vi 19157 V+ (sA better but a very light swish) 132 Edna Hicks You've Got Everything a Sweet Mama Needs but Me/ Walking and Talking Blues, Vo 14650 E- 133 Chippie Hill and Tampa Red, Weary Money Blues/ Blues 78’s for auction. Packing and air mail is 15 Euro, anywhere, for any amount Christmas Man Blues, Vo 1223 V/V to V+ of records. Payments can be made by Eurotransfer, Bank transfer and Paypal. labels lightly damaged and a bit dirty The records are not in E+, and some needed restaurations. These are stable and 134 Bertha 'Chippie' Hill, Trouble in Mind/ Georgia Man guaranteed, all from my own practice. Grading is aural, done with a ‘0028 stylus.