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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. -
The Jones Tones Are a Veteran Band of Four Musicians, All with a Distinctive Style and Personality That Blends Into a Powerful Whole
Davey J and the Jones Tones are a veteran band of four musicians, all with a distinctive style and personality that blends into a powerful whole. As bandleader, Davey J's approach to the blues is all about Furry Lewis (by Reverend Keith A. Gordon, About.com Guide) the shuffle, a style and tempo pioneered in acoustic Delta blues and electric Chicago blues. When the four- Bridging the gap between the early acoustic blues of the Mississippi Delta of the 1920s and the rediscovery piece band gets its groove on, you can hear the foot-tapping acoustic-electric sounds from the era of of so-called "folk" or country blues by white audiences in the '60s, Furry Lewis was both a unique stylist and a rockabilly, Nashville country and western, early rock and roll, and of course, classic Chicago blues. And in throwback to the sound of an earlier era. Equally capable of playing guitar with an original fingerpicked style the midst of the traditional shuffle tempos and rich vocals, Davey J also uses processing tools of the 21st as well as delivering a mean slide-guitar sound, Lewis was a charismatic storyteller and a flamboyant century to add an edge to his acoustic guitar sound. So, as the Jones Tones perform songs that range from showman that performed naturally with skill and humor. the 1930s Delta blues to the blues styles of our time, the band pays tribute to blues traditions as well as Born Walter Lewis in Greenwood, Mississippi in the Delta, the exact year of his birth remains in question, and creating an original new sound. -
Big Walter Horton, Blues Harmonica Giant, Classic Sides 1951-1956 (3 CD) Di Bear Family, Uscito Nel 2010, Dopo La Stesura Di Questo Documento
WALTER HORTON, AN EASY MAN Discografia completa commentata di Sugarbluz Walter Horton nasce il 6 aprile 1918 in una fattoria vicino a Horn Lake, Mississippi, Contea DeSoto, ma nel suo primo anno d’età la famiglia, che include un fratello, Albert, e tre sorelle, Katy, Maggie e Bernice, si trasferisce nella vicina Memphis, Tennessee. Dapprima si dedica al pianoforte, ma poi il suo passatempo preferito diventa accompagnare, con l’armonica che un bel giorno suo padre porta a casa, i 78 giri di blues che girano sul grammofono di famiglia. Dopo due anni di pratica e scomparso da poco il padre Walter decide di contribuire al sostentamento familiare, così comincia a suonare per le strade di Memphis arrivando a guadagnare anche otto dollari al giorno, e in poco tempo tra i musicisti locali si comincia a parlare del piccolo Walter, ed è così che conosce Floyd Jones, Johnny Shines, Jimmy DeBerry. Ad appena nove anni registra con la nota Memphis Jug Band dell’armonicista e chitarrista Will Shade (detto Son Brimmer, probabilmente il suo primo maestro di tecnica insieme a Hammie Nixon, fedele partner di 'Sleepy' John Estes); il dato non è genericamente accettato vista la giovane età, ma l’autore Samuel Charters ritiene che sia vero. Il disco esce per Victor, una delle poche etichette discografiche che riesce a far fronte alla Grande Depressione. La compagnia di Chicago, specializzata nella produzione di grammofoni, diventa proprio in quegli anni una divisione della potente RCA (Radio Corporation of America). Durante la crisi economica abbassa drasticamente i costi di produzione e il prezzo di vendita del disco singolo da 75 a 35 centesimi, spostando nei primi anni 1930 il settore race records su una sussidiaria, Bluebird. -
Robert Johnson from Wikipedia, the Free Encyclopedia
Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). -
CBS Newsletter January 2018
January 2018 BLUES NEWS Message from the President: Hello and Happy New Year! I’d like to thank those on the previous boards who did not return for their sup- port with moving CBS forward. Our biggest challenge this year is to implement the CBS Scholarship and Edu- cational Fund initiated by John Adams. Currently most of the funding for the “Fund” comes from our annual Blues Cruise. We’re looking forward to our next Cabin Fever Picnic on February 18th. This is an opportunity to meet other members and the CBS board. Hope to see many of you then. Bill Koteles A new year means another beginning. Keeping the Blues alive takes work, takes com- mitment, and it needs YOU. Think about helping us by becoming involved this year. Where else can you volunteer your time to bring live music to our area and have such a sweet payoff! CBS is going to be ten years old in June. Stay tuned for more information. Our newsletter will be published bi-monthly. The next issue will be in March 2018. From all of us at CBS, all the best this New Year, and may live music be a part of your life, always! 2017-2019 Cleveland Blues Society Board Members President: Bill Koteles Vice President: Anthony Lovano Secretary: Kris Diehl Treasurer: Elaine DeStephano Board Member: Mike Kormos Board Member: Dave Rolland Board Member: Bob Dickow Board Member: Susanne Mayer Board Member: Penny Holycross Cleveland Blues Society 1/7/2018 1 Inside this i s s u e : DECEMBER JAM Decembrer Jam Band 2-3 MS. -
Samuel B. Charters: Notes to Folkways FS 3823 "Furry Lewis"
FOLKWAYS RECORDS Album No. FA 3823 ©1959 Folkways Records & Service Corp., 43 W. 61st St., N. Y. C., USA FURRY LEWIS Edited by Samuel B. Charters Photo by A. R. Danberg FURRY LEWIS imagination that doesn't depend on technical display. As the singers mature their music often The last time I saw Furry Lewis he was chopping weeds achieves a new expressiveness. on a highway embankment near the outskirts of Memphis, Tennessee, the town he has lived in since he was six years- old. He was wearing faded denim overalls, a khaki work shirt, a bright red handkerchief tied The next afternoon I rented a guitar, a big Epiphone, around his neck. It was a hot day, and his sweat from a pawn shop on Beale Street, and took it over soaked shirt clung to his back. He was chopping at to Furry's room. He had gotten off work early and the heavy plants with a hoe, stopping every now and was sitting on the porch waiting for me. He carried then to wipe off his face. Furry has worked as a the guitar inside, sat down and strummed the strings laborer for the city of Memphis for nearly thirty- to make sure it was in tune, then looked up and five years. He chops weeds, cuts grass, rakes leaves, asked me, "What would you like to hear? " picks up trash, whatever needs done around the city's streets and parks. He limps a little, but watching I was surprised that he didn't want to try the him work it's still a surprise to notice that he has guitar a little first, but I managed to think of only one leg. -
“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. -
MISSISSIPPI LEGISLATURE REGULAR SESSION 2009 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2009 By: Senator(s) Chassaniol, Ward, Hewes, To: Rules Carmichael, Watson, Burton, Butler, Dearing, Fillingane, Jackson (32nd) SENATE CONCURRENT RESOLUTION NO. 700 1 A CONCURRENT RESOLUTION RECOGNIZING THE LEGACY OF KOSCIUSKO 2 BLUES ARTIST CHARLIE MUSSELWHITE ON THE OCCASION OF THE UNVEILING 3 OF HIS MISSISSIPPI BLUES TRAIL MARKER. 4 WHEREAS, on Friday, April 24, 2009, the Mississippi 5 Development Authority Tourism Heritage Trails Program, the 6 Mississippi Blues Commission and the Kosciusko-Attala Development 7 Corporation unveiled a Mississippi Blues Trail marker in honor of 8 legendary Kosciusko blues artist Charlie Musselwhite; and 9 WHEREAS, Charlie Musselwhite lived with his family in 10 Kosciusko until they moved to Memphis, Tennessee, in the fall of 11 1947, when he was three. Attracted to the blues as a teenager in 12 Memphis, Musselwhite learned guitar and harmonica and sought out 13 the blues singers he had read about in the book The Country Blues 14 by Sam Charters, who later produced Musselwhite's debut album. 15 Will Shade, Furry Lewis and Memphis Willie B. (Borum) became his 16 first mentors; and 17 WHEREAS, in November of 1962, Musselwhite moved to Chicago in 18 search of employment, first settling in the Uptown area where many 19 white Southern migrants lived. He was soon immersed in the 20 African-American music and lifestyle of the South Side, however, 21 in 1964, he moved there to be closer to the blues action; and 22 WHEREAS, in 1963-1964, he roomed at the Jazz Record Mart and 23 the Old Wells Records Shop with Big Joe Williams, one of many 24 former Mississippians residing in the Windy City. -
WALTER HORTON a Career That Mixed Triumphant Music Making with Some Missed Opportunities Still Left a Legacy of Some of the Greatest Blues Harp Recordings of All
‘LITTLE BOY BLUE’ WALTER HORTON A career that mixed triumphant music making with some missed opportunities still left a legacy of some of the greatest blues harp recordings of all. Mississippi Fred McDowell, J.B. Lenoir and Walter Horton, Manchester Free Trade Hall, AFBF Tour 1964. Photo: Brian Smith. et’s start by conjuring an image to warm the heart and stir Reasonable doubters will argue that it’s unlikely that a band as well- the soul – the ten-year-old child prodigy, nervously following connected as Shade & Co. would have needed to take such a young and his older friends, the members of the Memphis Jug Band, inexperienced harp player all the way from Memphis to Chicago (Horton Linto the recording studio on 9th June 1927, his little fingers was born on 6th April 1917) for a session, and that the playing style is very protectively clasping his precious Marine Band harmonica. They different to that on Horton’s post-war recordings (the solo on ‘Sometimes’ sit down and get started on their first number, ‘Sometimes I Think consists pretty much of a similar repeated phrase played across the chords, I Love You’, and for the first minute or so the lad hangs back, but it’s nonetheless effective). The truth is we’ll never know, but you can perhaps diffident about his youthful skills and blowing only a find the two tracks in question (there’s a lot more harp on the other one, few barely audible notes in the background. Then the Band’s ‘Sunshine Blues’) on The Memphis Jug Band’s ‘Complete Recorded Works leader Will Shade, already an important figure on the Memphis Vol.1’, Document DOCD-5021, and see what you think. -
SWR2 Musikglobal
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE __________________________________________________________________________ SWR2 MusikGlobal Mit Waschbrett und Besenstiel-Baß Jug-Bands und Skiffle-Gruppen Von Christoph Wagner Sendung: Dienstag, 10. April 2018, 23.03 Uhr Redaktion: Anette Sidhu-Ingenhoff Produktion: SWR 2018 __________________________________________________________________________ Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. __________________________________________________________________________ Service: SWR2 MusikGlobal können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de __________________________________________________________________________ Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de 1. Musik Kompon.: Memphis Jug Band Titel: Jug Band Music Interpret: Jim Kweskin & The Jug Band CD: Jim Kweskin & The Jug Band – Greatest Hits Label:Vanguard Records Bestellnr.: 13/14-2 1. Track Dauer: bei 0:07 Ansage Heute: Mit Waschbrett und Besenstiel-Baß: Jug-Bands und Skiffle-Gruppen von -
The Memphis and Shelby County Room Music Listening Station Guide
The Memphis and Shelby County Room Music Listening Station Guide 1 The Memphis and Shelby County Room Music Listening Station Guide Instructions for Use Sign in at the Reference Desk for a pair of headphones Use this Guide to determine which album(s) you would like to listen to Power on the Receiver and the CD Changer Use the scroll wheel to select you album Push “Play” If others are waiting to listen, please limit your time to 2 hours After listening, turn off the Changer/ Receiver and return headphones to the Reference Desk Please do not open the Disc Changer or change any settings on the Changer or Receiver 2 CD Genre Artist Album Title Track Listing # Memphis blues / W. C. Handy - Tiger rag / D. J. LaRocca - Good news / Traditional spiritual, arr. Allen Todd II - A mess of blues / D. Pomus and M. Shuman - Let's stay together / Willie Mitchell, Al Green, Al Jackson - Fight song / Tom Ferguson - String quartet no.3, DRequiem : Oro Supplex/Lacrimosa ; Dies irae / John Baur - Ol' man The University 90 Years of making music river / Jerome Kern, arr. by James Richens - Allie call the beasts : Allie ; To be called Classical of Memphis in Memphis The 1 a bear / John David Peterson - Tender land : Stomp your foot upon the floor / Aaron Band University of Memphis Copland - I'm in trouble / Joe Hicks - MKG variations / Kamran Ince - Pockets : Three solos for double bass : number 1 / John Elmquist - Scherzo no.3 in c-sharp minor, op.39 / Frederic Chopin - Brass quintet : Intrada ; Finale / James Richens - Lucia di Lamermoor / Chi me frena in tal momento / Gaetano Donizetti. -
Jug Band Music
Jug Band Music by Michael “Hawkeye” Herman The good timey sounds of jug band music – infectious and influential – have enjoyed popularity since its beginnings in the “spasm” and “novelty” bands that developed in New Orleans in the late 19th and early 20th Century. The spasm bands not only featured improvisation on a wide variety of standard musical instruments, but the instruments themselves were often homemade and improvised – like the jug in place of a tuba or upright bass. Hence the name, “Jug Band.” Homemade instruments like the jug, washboard, spoons, and one-string ‘bucket’ bass have a long tradition in both early African American and white American cultures. These early New Orleans jug bands expanded to other regions like Memphis and Louisville by the turn of the 20th Century, playing jazz and blues long before the music was recognized and labeled as such. Jug bands played on the Ohio and Mississippi riverboat paddle wheelers and in many southern night clubs. They were in vaudeville, on the streets, and in traveling medicine shows. These bands created a colorful and exciting aspect to country blues, classic jazz, country & western, and hillbilly musics. In the 1920s, some of the first jug bands to record were: Clifford Hayes (Louisville Jug Band, Old Southern Jug Band, and Dixieland Jug Blowers); Earl McDonald (The Ballard Chefs, the Original Louisville Jug Band); Buford Threlkeld (Whistler’s Jug Band); and the Birmingham Jug Band of Ben Curry (aka Ben Covington) and Jaybird Coleman. Many of these bands played popular dance band jazz, using the jug as a novelty element.