DOCSLIB.ORG

MISSISSIPPI LEGISLATURE REGULAR SESSION 2017 By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MISSISSIPPI LEGISLATURE REGULAR SESSION 2017 By MISSISSIPPI LEGISLATURE REGULAR SESSION 2017 By: Senator(s) Jackson (11th), Simmons To: Rules (13th), Barnett, Dawkins, Burton, Blackmon, Butler, Simmons (12th), Norwood, Chassaniol, Jackson (32nd), McDaniel, Stone SENATE CONCURRENT RESOLUTION NO. 653 1 A CONCURRENT RESOLUTION MOURNING THE PASSING OF MISSISSIPPI 2 BLUES LEGEND JAMES COTTON OF TUNICA, MISSISSIPPI. 3 WHEREAS, James Cotton, who learned to play the harmonica as a 4 child in the Mississippi Delta and went on to be a major figure in 5 blues music as a sideman to Muddy Waters and as a Grammy 6 Award-Winning Solo Performer, died March 16, 2017. He was 81; and 7 WHEREAS, Mr. Cotton grew up in the fabled Delta blues 8 heartland of Northern Mississippi and learned the harmonica from 9 his mother before he became an orphan at age nine. He began 10 performing professionally soon thereafter and brought a showman's 11 flair to the classic blues tradition, sometimes doing backflips on 12 stage; and 13 WHEREAS, a direct link to earlier generations of blues 14 musicians, Mr. Cotton later appeared alongside dozens of acclaimed 15 performers, from Janis Joplin and B.B. King to Led Zeppelin, Eric 16 Clapton and Keith Richards; and 17 WHEREAS, Mr. Cotton wrote many tunes and sang in a gruff, 18 guttural vocal style, but he was better known for his skill on the S. C. R. No. 653 *SS01/R1341* ~ OFFICIAL ~ N1/2 17/SS01/R1341 PAGE 1 (tb\rc) 19 harmonica — or "harp," as blues musicians often call it. Along 20 with his mentor, Sonny Boy Williamson, and other artists such as 21 Sonny Terry, Little Walter and Junior Wells, Mr. Cotton was 22 recognized as one of the foremost masters of the blues harmonica. 23 Many of Mr. Cotton's lasting early contributions came during his 24 first tenure with Waters, in Chicago, where from 1954 to 1966 he 25 played in a band that included Guitarist Jimmy Rogers and Pianist 26 Otis Spann. Often heard in close call and response with Waters's 27 deep, declamatory vocals, Mr. Cotton's squalling harmonica 28 animated dozens of recordings Waters made for the influential 29 Chess label, including classics like "Got My Mojo Working" and 30 "Rock Me"; and 31 WHEREAS, gripping a harmonica and microphone at the same 32 time, Mr. Cotton practiced a technique called circular breathing, 33 in which he inhaled through his nose while continuing to play 34 long, energetic lines on his harmonica. His approach could be 35 mournful, sweet or fleet, and he sometimes played so hard that the 36 small metal-and-wood instrument fell apart in his hands; and 37 WHEREAS, James Henry Cotton was born July 1, 1935, in Tunica, 38 Mississippi. His parents were sharecroppers. He began playing 39 the harmonica at age five, learning to imitate the sounds of 40 chickens and other farm animals from his mother. After both of 41 his parents died, Mr. Cotton was introduced by a relative to Rice 42 Miller, a Blues Musician and Radio Host better known as Sonny Boy 43 Williamson. Mr. Cotton lived in his household for the next six S. C. R. No. 653 *SS01/R1341* ~ OFFICIAL ~ 17/SS01/R1341 PAGE 2 (tb\rc) 44 years. Asked what he learned from Williamson, Mr. Cotton replied, 45 "How to drink and how to play the blues," according to the Chicago 46 Tribune. "Anything he played today, I learned it tomorrow." 47 Despite his relative youth, Mr. Cotton learned a pure style of 48 Delta blues that was fast disappearing. After Williamson moved to 49 Milwaukee, the 15-year-old Mr. Cotton briefly took over his 50 elder's band and radio show. While living near Memphis, Mr. 51 Cotton drove an ice truck and spent two years in the band of 52 another blues giant, Howlin' Wolf. One of Mr. Cotton's early 53 vocal recordings for Sun Records, "Cotton Crop Blues," became a 54 minor rhythm-and-blues hit in 1954. That year, Waters invited Mr. 55 Cotton to move to Chicago and join his band. Mr. Cotton said he 56 suggested that Waters perform "Got My Mojo Working," which became 57 one of his signature tunes; and 58 WHEREAS, as the blues revival reached its peak in the 1970s 59 and 1980s, Mr. Cotton often appeared in concert or on records with 60 younger rock-and-roll stars influenced by his music. Several of 61 his albums from those years, including "100% Cotton" (1974), "High 62 Compression" (1984) and "Live From Chicago: Mr. Superharp 63 Himself" (1986), were ranked among his finest; and 64 WHEREAS, reunited in a studio with Waters, Mr. Cotton 65 appeared on the Grammy-winning album "Hard Again" in 1977. He 66 received three Grammy nominations for his own work before winning 67 in the best traditional blues category for his 1996 album, "Deep S. C. R. No. 653 *SS01/R1341* ~ OFFICIAL ~ 17/SS01/R1341 PAGE 3 (tb\rc) 68 in the Blues," which featured Guitarist Joe Louis Walker and Jazz 69 Bassist Charlie Haden; and 70 WHEREAS, Mr. Cotton moved from Chicago to Memphis in the 71 1990s, after the death of his first wife, Ceola. He was inducted 72 into the Blues Hall of Fame in Memphis in 2006 and settled in 73 Austin in 2010. Survivors include his second wife and Manager, 74 Jacklyn Hairston; three children; and numerous grandchildren and 75 great-grandchildren; and 76 WHEREAS, "I'm not sure why my music still speaks so directly 77 to folks," Mr. Cotton told the Los Angeles Times in 1998. "I try 78 to play from deep inside of me and keep the music honest. I 79 prefer it upbeat and up-tempo too, because all the problems people 80 have are gone once we start playing;" and it is with great 81 humility that we recognize the music legacy of a Mississippi music 82 pioneer: 83 NOW, THEREFORE, BE IT RESOLVED BY THE SENATE OF THE STATE OF 84 MISSISSIPPI, THE HOUSE OF REPRESENTATIVES CONCURRING THEREIN, That 85 we do hereby mourn the passing of Mississippi Blues Legend James 86 Cotton of Tunica, Mississippi, and extend to his surviving family 87 and many fans the condolences of the Legislature. 88 BE IT FURTHER RESOLVED, That this resolution be presented to 89 the surviving family of James Cotton and made available to the 90 Capitol Press Corps. S. C. R. No. 653 *SS01/R1341* ~ OFFICIAL ~ 17/SS01/R1341 ST: Mourn the passing of Mississippi Blues PAGE 4 (tb\rc) Legend James Cotton of Tunica, Mississippi. .
Load more

Recommended publications
  • Janis Joplin and the Sexual Revolution
    Janis Joplin and the Sexual Revolution This item contains selected online content. It is for use alongside, not as a replacement for the module website, which is the primary study format and contains activities and resources that cannot be replicated in the printed versions. About this free course This free course is an adapted extract from the Open University course A113 Revolutions http://www.open.ac.uk/courses/modules/a113. This version of the content may include video, images and interactive content that may not be optimised for your device. You can experience this free course as it was originally designed on OpenLearn, the home of free learning from The Open University – https://www.open.edu/openlearn/history-the-arts/the-american-civil-rights-movement/content-section-0 There you’ll also be able to track your progress via your activity record, which you can use to demonstrate your learning. Copyright © 2020 The Open University Intellectual property Unless otherwise stated, this resource is released under the terms of the Creative Commons Licence v4.0 http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en_GB. Within that The Open University interprets this licence in the following way: www.open.edu/openlearn/about-openlearn/frequently-asked-questions-on-openlearn. Copyright and rights falling outside the terms of the Creative Commons Licence are retained or controlled by The Open University. Please read the full text before using any of the content. We believe the primary barrier to accessing high-quality educational experiences is cost, which is why we aim to publish as much free content as possible under an open licence.
    [Show full text]
  • Tribute to Three Giants Figures of the Sixties' Pop
    TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects.
    [Show full text]
  • The 1970'S Counter-Culture Through the Lyrics of Janis Joplin Chelsey Hess Ouachita Baptist University
    Ouachita Baptist University Scholarly Commons @ Ouachita History Class Publications Department of History 4-2-2015 The 1970's Counter-Culture through the Lyrics of Janis Joplin Chelsey Hess Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/history Part of the History Commons Recommended Citation Hess, Chelsey, "The 1970's Counter-Culture through the Lyrics of Janis Joplin" (2015). History Class Publications. 28. https://scholarlycommons.obu.edu/history/28 This Class Paper is brought to you for free and open access by the Department of History at Scholarly Commons @ Ouachita. It has been accepted for inclusion in History Class Publications by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Chelsey Hess Research Seminar 2 April 2015 The 1970s Counter-Culture through the Lyrics of Janis Joplin Today’s music tends to have the main goal of entertaining instead of spreading a message; the music created, performed, and shared during the 1970s carried with it ideas and new ways of thinking. People could not only “jam” to the beats created by singers such as Jimmi Hendrix, The Beatles, and Janis Joplin, but they could also connect and identify with the words that they sang; Songs such as “Let It Be” by the Beatles is a prime example of this type of music. The 1970s brought a decade of national malaise in the United States, as well as a young adult backlash to the teachings of their parents. Young Americans were not only consumed with their own life in high school but also with protesting against the Vietnam War, the Civil Rights Movement, and rejecting the lifestyles that their parents had imbedded in them since birth.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Yellow and Orange Delivery Back to Business Flyers
    Did you know... The citrus industry began in San Bernardino County in 1857 when Anson Van Leuven planted six orange trees on his farm and people drove miles to get them.Captain Nathaniel Pishon planted the first large grove in the area, and Lewis Cram planted 1,500 trees in 1874. The first National Orange Show in 1911 was held in a tent on the corner of 4th and “E” Street to promote the citrus industry. It was the brainchild of Harry Parkins who brought the idea to W.W. Brison who was the president of the San Bernardino Chamber of Commerce. The popularity of the National Orange Show grew so the second show in 1912 moved to its new location on 2nd and “E” Street. The directors of the Orange Show needed a permanent home so they bought 42 acres at Mill and “E” Street. In July 1949, the Exhibition Building constructed in 1925 was destroyed by a fire. It was almost 100,000 square feet and was the largest structure of its type in California. The stadium was developed by the National Orange Show and the federal government in 1935 as an “unemployment relief project”. Its construction provided employment for hundreds over a two-year period. Bob Hope and Tex Ritter were among the silver screen celebrities appearing on the entertainment stage in 1951. Hope performed for 13 consecutive years. Did you know... The Swing Auditorium was built in 1949 and named after California state senator, Ralph Swing. Swing was one of the founders of the first National Orange Show in 1911 and served as manager and later board president.
    [Show full text]
  • Chain (1967) Janis Joplin
    MUSC-21600: The Art of Rock Music Prof. Freeze Ball ’n’ Chain (1967) Janis Joplin LISTEN FOR • Cross between electric blues and psychedelic rock • Blues/gospel-inspired vocal inflections • Frequent stop time • Extended improvisation CREATION Songwriters Willie Mae Thornton Album Cheap Thrills (1968) Version for this guide is taken from Janis Joplin’s Greatest Hits (1973) Label Columbia Musicians Big Brother and the Holding Company Recording Calgary, Alberta (live); July 4, 1970); stereo MUSIC Genre Psychedelic rock; blues-rock Form 12-bar blues Key G Minor Meter 12/8 ( MUSC-21600 Listening Guide Freeze “Ball ’n’ Chain” (Janis Joplin, 1967) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro (1) • Two pick-ups in band followed by vocalization. 0:09 Instr. Verse (12) • Slow 12/8 meter: 4 beats per measure and 3 eighth notes per beat. • Cross between electric blues and psychedelic sound: heavy distortion, gospel-style organ (with lots of reverb), dense muddy textures. 1:04 Verse 1 (12) “Sittin’ down by my window” • Vocals enter and immediately command center of attention. • Band retreats to background, emphasizes backbeat. • Momentum builds in final 2 bars. 1:58 Verse 2 (12) “Say whoa honey” • Frequent stop time. • Blues/gospel-inspired vocal inflections like melismas and added vocalizations. 2:53 Instr. Verse (12) • Electric guitar solo. 3:44 Verse 3 (10) “Say whoa honey” • Blues/gospel inflections and stop time even more exaggerated. • Verse broken off after 10 bars. 4:30 Improvisation • Suspension of time for extended vocal improvisation that parallels function of sermon in gospel tradition, but in conversational, hippie fashion.
    [Show full text]
  • The Story of the Blues – a Concise History Harvard University Course Syllabus, Charles Sawyer
    The Story of The Blues – A Concise History Harvard University Course Syllabus, Charles Sawyer The blues was born in the deep south, principally the Mississippi Delta, in the last decade of the 19th century. In the 1930s and '40s a huge number of Black Americans migrated north to Chicago and the blues went with them. At the same time, the blues spilled over into Memphis. In the 1950's the blues had grown up from country music into something we call Urban Blues. The music had changed from solo, acoustic, country music to ensemble, electric city music. Urban Blues had become national music, not regional music, but it was still the music of African Americans. What the white population of America knew of blues was blues-influenced music. In the mid-1950s American Popular Music was transformed by a new generation of musicians through recordings of small, independent record labels, principally Sun Records, located in Memphis, Chess Records, located in Chicago, Atlantic Records, located in New York City, and Specialty Records, located in Los Angeles. This was Rock And Roll. Rock and Roll was not blues, but it was more than mere blues-influenced music, it was blues- drenched music. Blues was confined to the shadows, lurking behind racial barriers. In all of America, very few white Americans could tell you who B.B. King was, in spite of the fact he was constantly crisscrossing the country, playing to sell-out crowds. By the 1960s blues may have been little known to whites in America, but a few white kids on both sides of the Atlantic were discovering it, and together they would change popular music profoundly and permanently.
    [Show full text]
  • Dance Clarinets
    BIOS Greenwich House Music School JOSEPH DALEY is one of Jazz and contemporary music’s most extraordinary composers and leaders, with nearly 50 years of recognition as one of the consummate sidemen on the adventurous music scene alongside artists like Sam Rivers, Carla Bley, Gil Evans, and many more. Stunning musicians and Dance Clarinets fans alike with his brilliant 2011 CD, The Seven Deadly Sins, featuring his Earth Tones Ensemble, this powerfully innovative music mines the same rich vein of musical expression as that of immortals like Charles Mingus, The Music of Joseph Daley Duke Ellington and George Russell, receiving rave reviews and making several Best of Year lists. In 2013 he followed up with The Seven Heavenly Virtues, then in 2014 Portraits: Wind, Thunder and Love. Born in New York GHMS Clarinet Ensemble City’s Harlem and best known for playing the tuba, Joseph also plays euphonium, trombone and piano; but these days his growing reputation as a Featuring Vibraphonist Warren Smith visionary composer is bringing him worldwide acclaim. He attended the Manhattan School of Music and continues to teach as an in-demand and highly compelling educator at institutions across the United States. WARREN SMITH, virtuoso on melodic and percussion instruments, graduated from the University of Illinois Urbana/Champaign and Manhattan School of Music and has recorded with Miles Davis and accompanied for Aretha Franklin, Nina Simone, Lloyd Price, Nat King Cole, and Janis Joplin. Smith has also been a long-time member of the Max Roach M’Boom Ensemble of drummers. During his sixty-year long career he performed and collaborated with myriads of prominent artists of all musical styles including Quincy Jones, Count Basie, and Van Morrison.
    [Show full text]
  • Capitol Oyster
    fans but for blues fans from around the world. The roster of performing artists has included the Holmes Brothers, C.J. Chenier, Louisiana Red, Hubert Sumlin, Johnny Rawls, Cephas & Wiggins, Joe Louis Walker, Sue Foley, Curtis Salgado, James Cotton, Lurrie Bell, Johnny Winter, Guitar Shorty, Shemekia Copeland, Nikki Hill, Maria Muldaur, Billy Branch, Lucky Peterson, Mark Hummel, Anson Funderburgh, Otis Taylor, Rick Estrin, th celebrating our 15 anniversary Walter Wolfman Washington, John of representing the best of Németh, Mike Zito, Warren Haynes, blues & roots music! Kenny Wayne Shepherd, Samantha Fish, Otis Taylor, and many more. Beginning six- teen years ago, the festival added a final performance in Chorzow, Poland, to fur- aleXis p. suter ther expand its reach. On this special bernarD allison group weekend in November each year, fans blues caravan bobby rush from around the world come together to bonerama celebrate the blues. christie lenÉe c. J. chenier & the reD hot louisiana banD corey harris cyril neville Capitol Oyster Bar Damon foWler Dana fuchs eleKtric vooDoo heaD for the hills henhouse proWlers hot buttereD rum JareKus singleton Joe louis WalKer Jonathon long Jonn Del toro richarDson (europe) michelle malone miKe Zito neW monsoon neW riDers of the purple sage Since 1996, Lewis Mashburn’s Capitol otis taylor Oyster Bar in Montgomery, Alabama, has roD piaZZa & the mighty flyers been a dedicated supporter of live blues. steaDy rollin’ bob margolin strung liKe a horse The club is one of the premier venues in tab benoit the South to experience and support top the apocalypse blues revue blues artists from across the United the DrunKen hearts States.
    [Show full text]
  • Joplin, Janis (1943-1970) by Teresa Theophano
    Joplin, Janis (1943-1970) by Teresa Theophano Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The name Janis Joplin is practically synonymous with the excesses epitomized by the counterculture of the 1960s: sex, drugs, and rock 'n' roll, all of which Joplin took to extreme levels. As troubled as she was talented, Joplin has been portrayed in numerous articles, full-length biographies, and documentaries as everything from a reckless, sex-crazed party animal to a victimized, lost little girl who never believed she was lovable. The truth is likely somewhere in between--but what is clear is that Joplin's musical legacy lives on and crosses barriers of gender, race, and class. Joplin was born on January 19, 1943 in small, insular Port Arthur, Texas, where she grew up. She always stood out as a bright, creative misfit in her oil-refinery hometown. She stood out too in her rather conservative family, preferring to pursue visual art and music rather than fulfill her mother's expectations of her becoming a schoolteacher. Joplin reportedly relished the attention that gossip about her bad-girl image brought, but her status as a social outcast hurt her deeply and would remain with her throughout her short life. For a while Joplin attended Lamar State College of Technology and then the University of Texas at Austin, but she decided that school was not for her and never graduated. During her college years she began singing at the hootenannies of the day and at bars in the Austin, San Francisco, and Venice, California areas.
    [Show full text]
  • BLUES-A-THON 2017-Description And
    BLUES-A-THON 2017-Description and Rules What is the Blues-A-Thon? The Blues-A-Thon is a fundraising event intended to raise money to support the Uptown Music Collective, a 501(c)(3) nonprofit school of music. All funds raised will go directly to the school’s free class and workshop initiative. The fundraising goal for this ninth annual event is $5,000. The Blues-A-Thon will take place at multiple locations during the 24hr period: 6pm to 8pm - First Friday on Pine St. (420 Pine St. Williamsport, Pa) 8pm to 10pm – Pine Square Stage (343 Pine St. Williamsport, Pa) 10pm to 12pm - Uptown Music Collective (144 West Third St. (2nd Floor) Williamsport, Pa) 12pm to 6pm – The Mid-Town Landing (behind the Uptown Music Collective) & Pine Square Stage 6pm – The Michael Ross Event Center (144 West Third St. (3rd Floor) Williamsport, Pa) The public is welcome throughout the event, and is encouraged to make donations to help the organization. The event will feature international blues recording artist Bob Margolin, who will perform with the participants and solo during the opening ceremonies and closing concert. All participants must pledge a number of hours that they intend to perform and seek donations from individuals and companies for each hour pledged. A minimum of $25 in sponsor pledges is required for each participant. Rules of Participation 1. The number of hours each participant pledges to perform and what times they plan to play must be turned into Brendan Mondell, [email protected] by June 2nd. 2. Participants must turn in a completed registration form with a sponsor sheet and envelope with a minimum of $25 in pledges by 5:00 pm on Friday, June 2nd to participate.
    [Show full text]
  • 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.
    [Show full text]