Stefan Geisinger Band
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public. -
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. -
Blind Lemon Jefferson from Wikipedia, the Free Encyclopedia
Blind Lemon Jefferson From Wikipedia, the free encyclopedia Background information Birth name Lemon Henry Jefferson Also known as Deacon L. J. Bates Born September 24, 1893[1] Coutchman, Texas, U.S. Origin Texas Died December 19, 1929 (aged 36) Chicago, Illinois, U.S. Genres Blues, gospel blues Occupation(s) Singer-songwriter, musician Instruments Guitar Years active 1900s–1929 Labels Paramount Records, Okeh Records Notable instruments Acoustic Guitar "Blind" Lemon Jefferson (born Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues and gospel blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been called "Father of the Texas Blues". Jefferson's performances were distinctive as a result of his high-pitched voice and the originality on his guitar playing. Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists. Later blues and rock and roll musicians, however, did attempt to imitate both his songs and his musical style. Biography Early life Jefferson was born blind, near Coutchman in Freestone County, near present-day Wortham, Texas. He was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace. -
MISSISSIPPI LEGISLATURE REGULAR SESSION 2011 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2011 By: Senator(s) Dawkins, Horhn, Turner, To: Rules Jordan, Tollison, Baria, Butler (38th), Jackson (32nd), Albritton, Harden, Powell, Butler (36th), Jackson (11th), Bryan, Simmons, Burton, Clarke, Davis, Dearing, Fillingane, Frazier, Watson SENATE CONCURRENT RESOLUTION NO. 593 1 A CONCURRENT RESOLUTION RECOGNIZING THE UNVEILING OF THE 2 MISSISSIPPI BLUES TRAIL MARKER AT THE "MISSISSIPPI MUSIC 3 CELEBRATION AT THE GRAMMY MUSEUM" IN LOS ANGELES, CALIFORNIA. 4 WHEREAS, Mississippi blues, country, gospel, soul and 5 rock'n'roll artists are at the center of American popular music, 6 and that legacy is apparent in the number of Mississippians who 7 have been recognized by The Recording Academy with GRAMMY Awards, 8 GRAMMY Hall Of Fame inductions and Lifetime Achievement Awards; 9 and 10 WHEREAS, on Thursday, February 10, 2011, this year's 11 "Mississippi Music Celebration at the GRAMMY Museum" at L.A. Live 12 in downtown Los Angeles will celebrate that unparalleled musical 13 legacy and specifically honor Mississippi's pivotal role in the 14 establishment of blues music and that genre's influence across the 15 music industry. The event is part of GRAMMY Week, a preamble to 16 the GRAMMY Awards Ceremony scheduled on February 13, 2011. On 17 February 10, a Mississippi Blues Trail Marker will be unveiled at 18 the GRAMMY Museum and L.A. Live sidewalk; and 19 WHEREAS, the Mississippi Blues Trail, created by the 20 Mississippi Blues Commission, is a project to place interpretive 21 markers at the most notable historical sites related to the growth 22 of the blues throughout the State of Mississippi. -
“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. -
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. -
Salem Leaving Takoma Park
Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY -
Birthplace of the Blues?”: Dockery Farms, Mythic South, and the Erasure of the African American Lived Experience in Mississippi Blues Tourism
“BIRTHPLACE OF THE BLUES?”: DOCKERY FARMS, MYTHIC SOUTH, AND THE ERASURE OF THE AFRICAN AMERICAN LIVED EXPERIENCE IN MISSISSIPPI BLUES TOURISM Phillip MacDonald A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2015 Approved by: William R. Ferris Glenn Hinson Malinda Maynor Lowery ©2015 Phillip MacDonald ALL RIGHTS RESERVED ii ABSTRACT PHILLIP MACDONALD: “BIRTHPLACE OF THE BLUES?”: DOCKERY FARMS, MYTHIC SOUTH, AND THE ERASURE OF THE AFRICAN AMERICAN LIVED EXPERIENCE IN MISSISSIPPI BLUES TOURISM (Under the direction of William R. Ferris) From humble grassroots beginnings, blues tourism has expanded to a multimillion-dollar industry for Mississippi. This thesis utilizes Dockery Farms historic site as a case study to discuss the representation of African Americans within blues tourism. Dockery is particularly important because it is deemed the “Birthplace of the Blues” and presents two common narratives found in blues tourism- William Dockery’s “Great White Man” narrative along with Charley Patton’s “periphery black musician” narrative. Utilizing personal letters, photographs, historic sites, and theoretical concepts including the “Old” and “New” South, this thesis offers a critical analysis of the history presented at cultural tourist sites in Mississippi. Both myth and memory inform constructions of the past through cultural tourism and this thesis argues that blues cultural tourist sites and publications consistently underrepresent the African American lived experience. This work aims to lead to the reassessment of tourist sites and the addition of an inclusive history. -
'The Lonesome Bedroom Blues'
‘The Lonesome Bedroom Blues’.” Jefferson no. 124 (2000): p14-15. It’s lonesome in my bedroom, just me an’ myself alone It’s lonesome in my bedroom, just me an’ myself alone I have no one to love me, each night when I come home A room without a woman, is like a heart without a beat A room without a woman, is like a heart without a beat Seem like every woman I get, always wants to mistreat me So began the plaintive lyric of a 1937 blues which was to produce from the black record buying public of the day a measure of adulation and fame for the then, unknown, Texas blues singer Curtis Jones. The song, “Lonesome Bedroom Blues”, was to remain in Columbia’s catalogue until the demise of the 78 rpm record in the late fifties eventually to become a “blues standard” in the repertoire of a new generation of bluesmen and their white copyists. The originator, despite various attempts by enthusiasts to promote and re-record him in the sixties, was to die a forgotten, sad and embittered individual. One of seven children Curtis Jones was born on August 18,1906 in the sharecropping community of Naples, Cass County, Texas. His early child hood was much the same as that of other black children of the day; as soon as he was able he was working in the fields, but in Curtis’s case his time came quicker due to the death of his mother in 1912. By the time he reached his teens he had suffered sufficiently from the sharecropping regime - “Sometimes you have a good year and sometimes a very bad year. -
AW Biography 2012
Alan Wilder / Recoil (Long-form Biography) Recoil is the project of Alan Charles Wilder, formerly of Depeche Mode. Born on 1st June 1959, he is a classically-trained musician and renowned contemporary music producer. Recoil was born in 1986 as a two-track experimental EP. Simply entitled ‘1 + 2’, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, 'Hydrology', soon followed in 1988 and both were eventually re-issued by Mute on CD as 'Hydrology plus 1+2'. These early Recoil recordings revealed Alan’s position as a pioneer in the newly emerging world of sampling technology and demonstrated how he could turn the Depeche sound around to create something entirely new. Wilder described the project at the time as “... an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format”. Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date,‘Violator’. It wasn’t until the band finally allowed themselves an extended break after the enormously successful 'World Violation' tour that Alan could return to Recoil - not, however, before agreeing to produce 'Ebbhead', an album for label-mates Nitzer Ebb. It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil’s next album,‘Bloodline’. Released in 1991, Wilder recruited guest vocalists for the first time with further contributions from Toni Halliday and Moby, helping to produce an album that demonstrated his ability to concoct slow-burning soundscapes drenched in drowsy paranoia. -
Jelly Roll Morton and the Melrose Brothers
Further notes on Jelly Roll Morton: Jelly Roll and the Melrose Brothers by Björn Englund with additional material by Mark Berresford about bandleader Charlie Davis states that Morton made the arrangement of Copenhagen for Melrose based on the Wolverines’ Gennett recording; however bandleader and avid stock arrangement collector Vince Giordano points out that this is incorrect - the two 1920s orchestral arrangements are by Joe Jordan (but based on the Wolverines’ recording), and there is a vocal arrangement by Elmer Schoebel. Vince also suggests that although Morton is not credited on any Melrose arrangements, he may have had some form of editorial control over the work of others. Without the support of Walter Melrose we surely would never have had Morton's 1923 Gennett piano solo sessions nor the 1926-1927 Victor orchestral masterpieces. Melrose even paid for rehearsals to make sure the records turned out as perfect as possible. (Omer Simeon once remarked that this was the only time he was paid for rehearsing.) In the 1920s, the Melrose brothers set up many recording sessions not only for Victor but also for Brunswick/Vocalion and Gennett/Champion. In April 1925 Walter Melrose bought out Lester’s share of the business; Lester Melrose went on to dominate Chicago blues record sessions in the 1930s, both for Victor's Bluebird and ARC's Vocalion and OKeh labels. In August 1939 Walter Melrose sold his publishing company to Edwin H. Morris and Co. of New York, and moved to Tucson, Arizona where he formed the Walter Melrose Music Company. In the 1940s this company organised recording sessions with, among others, Earl Hines Much credit must be given to the Melrose Music Company and Blind John Davis, but Walter didn't run a record label and who have done more than any other agency in the country to the masters were sold to MGM, who were the first to issue put our musicians and writers to the front. -
Selling the Blues at Fat Possum Records
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2018 The Same Old Blues Crap: Selling The Blues At Fat Possum Records Jacqueline Sahagian University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Ethnomusicology Commons Recommended Citation Sahagian, Jacqueline, "The Same Old Blues Crap: Selling The Blues At Fat Possum Records" (2018). Electronic Theses and Dissertations. 886. https://egrove.olemiss.edu/etd/886 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SAME OLD BLUES CRAP: SELLING THE BLUES AT FAT POSSUM RECORDS A Thesis presented in partial fulfillment of requirements for the Master of Arts in Southern Studies The University of Mississippi JACQUI SAHAGIAN MAY 2018 Copyright © 2018 by Jacqui Sahagian All rights reserved ABSTRACT This thesis interrogates the marketing strategies of the Oxford, Mississippi-based record label Fat Possum, which was founded in the early 1990s by Matthew Johnson with the goal of recording obscure hill country blues artists. Fat Possum gained recognition for its raw-sounding recordings of bluesmen, including R.L. Burnside, Junior Kimbrough, Cedell Davis, and T-Model Ford, as well as its irreverent marketing techniques. Adopting the tagline “not the same old blues crap,” Fat Possum asserted that its blues were both different from and superior to all other blues music. This thesis argues that while Fat Possum claimed to be a disruptive force in the blues world, the label actually repeated marketing strategies that have been used to sell the blues since the genre was first sold during the 1920s race records era.