DOCSLIB.ORG

Fingerstyle Guitar Solos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Fingerstyle Guitar Solos from the playing of DaveyGraham, Blind Blake, Stefan Grossman Bert Janschand John Renbourn using standardtuning transcribed by Peter Billam and some pieces by Peter Billam ©Peter J Billam, 2017 This score is offered under the Creative Commons Attribution 4.0 International licence; see creativecommons.org This edition 7 September 2021. www.pjb.com.au Finger-style Folk-guitar Instrumentals These scores are something I always wished I had when I was fingerpicking steel-strung guitars in the the folk clubs of London in the late 1960s. Included are instrumentals for solo guitar,all in standard tuning, including a couple of my own, but mostly from the early albums of Davey Graham, Stefan Grossman, Bert Jansch and John Renbourn. Everyone trying to play the folk guitar must own those albums ! not to mention those by Al Stewart, John Martyn, RoyHarper,Dando Shaft, the Incredible String Band . it was a moment of great creative flowering. Theyplayed often with a Capo on second or third fret, and mostly in triplet-rhythm, which I have notated in 12/16 and 9/16 to makethe beats clearer by grouping them under the same beam. An ascii-tab tablature edition of these pieces is also available. Davey Graham was playing jazz standards - tune, chords and bass - just as a piano trio could. And not so much by brute virtuosity,asbyintelligence: by letting the arrangement growout from the guitar.Just consult Cry Me a River on youtube to see hownaturally the playing lies on Davey’s six strings. Blind Blake, star of Piedmont blues, recorded more than 100 sides in Chicago in 1927-1932, and was one of the great influences on Gary Davis. Stefan Grossman came in from the US, having studied not just in NewYork with the Reverend Gary Davis, but also down south with Mississippi John Hurt, Son House, Skip James, Mississippi Fred McDowell - so carrying in him a huge and rich tradition. Bert Jansch was exploring the sound of alternating between an open string and the same note fingered on the next lower string, letting both vibrate. He later described The Wheel as "the sort of thing most guitarists have uptheir sleeves, little bits and pieces theythrow aw ayorforget". This splicing together of repeated motifs (’little bits’) was also much used in progressive rock, and in the classical tradition it is associated with Russian music, The Rite of Spring for example. John Renbourn’sfirst twoalbums were among my most treasured possessions. Included are: Angi,iconic and indispensible, and Thelonius Monk’s Blue Monk,from Davey Graham’sfirst album, Grooveyard from Folk Roots, NewRoutes,and Cry Me a River by Arthur Hamilton as played by Davey in Hound Dogs and BachAddicts: the guitar craze,made by Ken Russell in 1959 for BBC TV’s Monitor. Guitar Chimes recorded by Blind Blakein1929, Matesa and Powder Rag and Lena Anne from Stefan Grossman’s1972 live album, Alice’sWonderland and Veronica and Smokey River (the intro, and the title, refer to Jim Hall’splaying on The Train and the River with the Jimmy Giuffre trio), from Bert Jansch’sfirst album, and The Wheel from his second album, Plainsong and Down on the Barge (made up while he was living on a barge on the River We y), from John Renbourn’sfirst album, and Day at the Seaside and Debbie Anne from his second, Whisper Not by BennyGolson and The Entertainer by Scott Joplin, arranged by myself, and The London Rag written by myself in the late 1960s. Peter J Billam pjb.com.au Davey Graham 1 Angi = 80 2 3 2 8 Capo on 3rd 4 1 5 8 3 bend bend 2 2 10 8 bend bend 15 8 20 8 ff 3 − 3 m 9 16 8 dim . p 25 f f 12 16 8 p 2 p f 30 f 15 16 8 3 2 p 2 p www.pjb.com.au 2 Anji Davey Graham 2 3 35 8 4 40 8 bend bend 2 i 8 45 bend i 8 50 8 55 f 8 f 60 9 12 16 16 8 p 2 p f f 2 3 8 p p www.pjb.com.au Anji Davey Graham 3 65 8 70 8 bend i 75 8 bend bend i 80 8 8 85 f 8 8 www.pjb.com.au 4 Davey Graham Grooveyard 1 a 2 m Capo on 3rd = 120 1 i 1 i 1 8 p 5 3 0 0 3 4 4 4 1 1 1 1 2 3 5 2 3 8 2 1 4 4 4 1 3 3 3 3 3 4 10 2 8 3 2 2 3 4 4 1 1 1 2 2 15 3 8 2 2 1 3 3 3 20 4 1 2 3 1 gliss 8 4 4 bend 4 2 bend 2 8 4 3 3 25 2 8 3 30 2 2 1 1 8 www.pjb.com.au Grooveyard, Davey Graham, first album 4 4 5 3 3 35 bend 8 2 40 8 bend 4 bend 1 8 2 3 2 45 bend 8 50 8 2 1 − 1 3 3 4 4 1 3 1 55 2 8 4 4 1 0 2P 60 bend 8 8 www.pjb.com.au 6 Grooveyard, Davey Graham, first album 4 65 3 4 8 2 70 8 75 8 2 1 1 1 3 4 0 1 4 2 3 4 80 8 2 0 2 8 2 85 8 4 1 90 2 3 2 8 rit . www.pjb.com.au Thelonius Monk, arr Davey Graham 7 Blue Monk 4 4 2 2 3 1 1 3 8 gliss 2 4 4 2 4 4 2 3 2 3 1 1 3 1 1 3 8 4 8 10 8 4 3 0 2 15 8 4 2 3 8 4 4 2 20 3 3 8 4 2 3 8 www.pjb.com.au 8 Blue Monk, Thelonius Monk, arr Davey Graham 25 8 2 1 3 4 4 8 3 8 1 1 35 2 3 2 2 8 4 4 3 1 4 2 4 2 0 2 1 8 1 0 1 0 3 4 2 40 3 8 2 45 8 8 0 2 4 www.pjb.com.au Blue Monk, Thelonius Monk, arr Davey Graham 9 3 4 2 2 1 1 50 8 0 8 55 8 60 8 bend 8 0 1 65 8 2 bend 8 70 8 www.pjb.com.au 10 Blue Monk, Thelonius Monk, arr Davey Graham 4 4 2 2 3 75 1 1 3 8 gliss 4 3 4 3 8 4:3 4:3 80 8 8 2 4 4 1 1 3 4 5 85 8 90 8 3 4 8 1 1 95 8 rit . 100 9 6 8 8 8 2 4 2 4 1 1 1 2 3 3 3 2 1 1 1 1 1 www.pjb.com.au by Arthur Hamilton, played by Davy Graham 11 = 88 Cry Me a River 4 4 4 4 1 1 1 2 3 1 2 1 1 1 1 2 8 5 8 4 4 1 1 3 1 3 1 2 1 8 4 4 1 10 2 1 1 0 1 2 0 8 15 3 8 1 8 4 4 2 2 20 3 3 8 2 4 4 1 25 1 3 1 2 1 8 4 4 1 2 1 1 0 1 2 0 8 30 3 8 3 3 3 8 4 2 1 3 www.pjb.com.au 12 Blind Blake, recorded 1929 Guitar Chimes o o o o o o o o o o o o o o o o 8 = 160 = 102 bend 5 3 3 3 3 2 8 3 bend 10 bend 3 3 3 3 8 2 3 4 4 4 2 1 4 3 3 8 bend 1 4 15 2 1 8 slide 3 3 3 2 1 2 8 slide 0 20 4 bend bend 3 3 8 3 2 2 1 1 25 8 1 bend 2 3 3 8 www.pjb.com.au Guitar Chimes, Blind Blake, recorded 1929 13 30 8 C1 3 2 8 35 3 2 2 8 bend C1 40 2 8 4 3 8 2 bend 45 bend 4 3 3 8 3 3 8 50 bend 8 slide www.pjb.com.au 14 Guitar Chimes, Blind Blake, recorded 1929 55 8 C1 3 1 8 4 60 2 2 8 3 2 2 8 1 65 8 gliss − − − 2 70 3 3 8 2 3 8 bend 75 4 8 3 min www.pjb.com.au Stefan Grossman, 1972 live album 15 Matesa 4 capo on 2nd 1 = 144 8 gliss to the A 2 3 gliss 6 5 8 2 10 8 3 4 3 3 3 15 2 8 2 2 4 4 1 1 2 2 4 20 8 1 sfz p 3 C 1 4 3 2 3 1 4 3 1 1 8 1 1 5 1 4 25 2 8 3 2 4 30 8 www.pjb.com.au 3 16 Matesa, Stefan Grossman, 1972 live album 1 35 8 gliss 2 to the A 6 40 8 2 8 4 3 45 3 2 8 1 2 2 1 4 50 8 1 sfz p 3 C 1 4 3 i 1 55 8 p mf 2 4 3 3 59 8 2 4 1 2 1 2 4 8 1 sfz p 3 C 1 4 65 3 8 www.pjb.com.au Stefan Grossman, 1972 live album 17 lightly swung 0 Powder Rag 3 sixteenths .
Recommended publications
  • Rosemary Lane the Pentangle Magazine

    Rosemary Lane the Pentangle Magazine

    Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album.
  • Scanned Image

    Scanned Image

    INSIDE Singleschart, 6-7;Album chart,17; New Singles, 18; NewAlbums, 13; Airplay guide, 14-15; lndpendent Labels, 8; Retailing 5. June 28, 1982 VOLUME FIVE Number 12 65p RCA sets price Industry puts brave rises on both face on plunging LPs & singles RCAis implementing itsfirst wide- ranging increase in prices since January Summer disc sales 1981. Then its new 77p dealer price for singles sparked trade controversy but ALL THE efforts of the record industryfor the £s that records appear to be old the rest of the industry followed in due to hold down prices and generate excite-hat. People who are renting a VCR are course. ment in recorded music are meeting amaking monthly payment equivalent to With the new prices coming into stubbornly flat market. purchasing one LP a week," he said. effect on July 1, RCA claims now to be Brave faces are being worn around the Among the major companies howev- merely coming into line with other major companies but itis becominger, there is steadfast resistance to gloom. companies. clear that the business is in the middle of Paul Russell, md of CBS, puts the New dealer price for singles will be an even worse early Summer depressionproblem down to weak releases and is 85p (ex VAT) with 12 -inch releases than that of 1981. happy to be having success with Joan costing £1.49, a rise of 16p. On tapes The volume of sales mentioned by theJett, The Clash, Neil Diamond andWHETHER IT likes it or not, Polydorand albums the 3000 series goes from RB chart department shows a decline ofAltered Images with the prospect of bigis now heavy metal outfit Samson's£2.76 to £2.95, the 6000 series from between 20 and 30 percent over the samereleases from Judas Priest and REOrecord company.
  • Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents

    Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents

    MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................
  • Memories of Nick Drake (1969-70)

    Memories of Nick Drake (1969-70)

    Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street.
  • Cultural Exchange Announced with Coppin State

    Cultural Exchange Announced with Coppin State

    Page 6 The Retriever Cultural Exchange Announced With Coppin State The Drama Department an­ nounced last 1\ee~ a cultural exchange program "ith Coppin State C allege. On ~ l onday even­ ing. ~lay 6 at 8:00 the Coppin State College Choir" ill present a concert in the Lecture Hall at C\IBC'. The shty \Oice choir, under the direction of its founder, Henn . Freeman. is in its ti e of tht' SE"'e , • tenth. anni,ersary year. It has and "Sat.an.' appeared before educational, ch­ On Wednt• flay ic. and rei igious groups through­ two plays ,,nd t•lectcd frn m out the cit;) and state in ad ­ will be presl'ntt'd. TH!! ·~ dition to performing on radio, F.HTY IS U1 IJEM E'll, te•e,ision and recordings. For Tenne see \\ lllinms, I fir t the ~lay 6 concert. the group the list. This play w111 I "il' present an all acapella pro­ rected by K~n Bnudrl • THE gram \\hich \\ill include a group SAN DBOX, by Ed~'>ard lbf' , I of madrigals, early and contem­ directed by C,ene C<Jfmt•r porary sacred \\Orks, secular The Acting .md !JirectmgCl Col~ songs and Afro-American will present scl'nes frnm well­ spirituals. known plays 11nd actt,rs will pre­ The exchange includes the sent im provisations during the C\!BC Sage Players' per­ inte rmissions. formance of Bertolt Brecht's All pe rfor mances start at noon GALILEO at Coppin on Satur­ a nd adm ission is free. day e'ening, :'.tay 3 at 8:00 in the Thomas G.
  • SANDY DENNY UNDER REVIEW: an Independent Critical Analysis, Limited Collectors Edition

    SANDY DENNY UNDER REVIEW: an Independent Critical Analysis, Limited Collectors Edition

    SANDY DENNY UNDER REVIEW: An Independent Critical Analysis, Limited Collectors Edition The difference between a critical analysis of {$Sandy Denny} or {$The Velvet Underground} and {$The Rolling Stones} is that with a lot less information available on this extraordinary singer the audience is more limited. The good news is that this edition of the "Under Review" series actually lives up to the documentary status it claims, and does, indeed, hold one's attention and inform better than the {^Green Day: Under Review 1995-2000 The Middle Years}, which is basically a bunch of critics blowing lots of hot air. It seems with these "DVD/Fanzine" type commentaries that the lesser known the subject matter, the better the critique. Denny is a singer that deserves so much more acclaim and study, and this is an excellent starting point, as is the {$Kate Bush} "Under Review", and even the {$David Bowie} {^Under Review 1976-79 Berlin} analysis which concentrates on his dark but fun period. {$Fairport Convention} fiddler {$Dave Swarbrick}, journeyman {$Martin Carthy}, {$Cat Stevens} drummer {$Gerry Conway} of Denny's band, {$Fotheringay} and {$Pentangle}'s {$John Renbourn} contribute as does {$Fairport Convention} biographer {$Patrick Humphries}. That's the extra effort missing in some of these packages which makes this close to two hour presentation all the more interesting. Perhaps more important than the very decent {$Kate Bush} analysis by the {^Under Review} team, there's a "Limited Collector's Edition" with a cardboard slipcover. It's a very classy presentation and a very important history that deserves shelf space in any good library.
  • 1 John Renbourn. John Renbourn Est Un Guitariste Folk Anglais Né En

    1 John Renbourn. John Renbourn Est Un Guitariste Folk Anglais Né En

    John Renbourn . John Renbourn est un guitariste folk anglais né en 1944 en Angleterre appartenant à la mouvance créée par Davey Graham (co-auteur de « Angie » avec Janch, qu’interpréta Paul Simon sur son premier disque). Il est connu du public pour ses collaborations avec le guitariste Bert Jansch, ainsi que pour son travail au sein du groupe folk qu’il a formé avec lui et d’autres, le Pentangle, mais a toujours mené une carrière solo avant, pendant et après l'activité du groupe (de 1967 à 1973). Ecoutons le : White house blues (du disque Faro Annie ) : http://official.fm/tracks/323234 Little Sadie (du disque Faro Annie ) : http://official.fm/tracks/323235 Shake, shake mama (du disque Faro Annie ) : http://official.fm/tracks/323236 John Renbourn a étudié la guitare classique à l'école, et c'est pendant cette période qu'il a fait la connaissance de la Musique Primitive. Dans les années 1950, il fut grandement inspiré par l'originalité décalée du Skiffle et ce fut pour lui l'occasion d'explorer le travail d'artistes tels que Leadbelly, Josh White et Big Bill Broonzy. Au début des années soixante, la mode populaire était au Rhythm and Blues, dont se réclamaient des groupes tels que les Rolling stones. Cette émergence de la musique noire américaine au Royaume-Uni tient beaucoup à l'influence de guitaristes acoustiques tels que Davey Graham. En 1961, Renbourn a ainsi tourné dans le Sud- Ouest des États-Unis avec Mac MacLeod, tour de chant répété en 1963. Pendant ses études au Kingston College of Art de Londres, Renbourn fit brièvement partie d'un groupe de Rhythm and Blues.
  • Love & Wedding

    Love & Wedding

    651 LOVE & WEDDING THE O’NEILL PLANNING RODGERS BROTHERS – THE MUSIC & ROMANCE A DAY TO REMEMBER FOR YOUR WEDDING 35 songs, including: All at PIANO MUSIC FOR Book/CD Pack Once You Love Her • Do YOUR WEDDING DAY Cherry Lane Music I Love You Because You’re Book/CD Pack The difference between a Beautiful? • Hello, Young Minnesota brothers Tim & good wedding and a great Lovers • If I Loved You • Ryan O’Neill have made a wedding is the music. With Isn’t It Romantic? • My Funny name for themselves playing this informative book and Valentine • My Romance • together on two pianos. accompanying CD, you can People Will Say We’re in Love They’ve sold nearly a million copies of their 16 CDs, confidently select classical music for your wedding • We Kiss in a Shadow • With a Song in My Heart • performed for President Bush and provided music ceremony regardless of your musical background. Younger Than Springtime • and more. for the NBC, ESPN and HBO networks. This superb The book includes piano solo arrangements of each ______00313089 P/V/G...............................$16.99 songbook/CD pack features their original recordings piece, as well as great tips and tricks for planning the of 16 preludes, processionals, recessionals and music for your entire wedding day. The CD includes ROMANCE: ceremony and reception songs, plus intermediate to complete performances of each piece, so even if BOLEROS advanced piano solo arrangements for each. Includes: you’re not familiar with the titles, you can recognize FAVORITOS Air on the G String • Ave Maria • Canon in D • Jesu, your favorites with just one listen! The book is 48 songs in Spanish, Joy of Man’s Desiring • Ode to Joy • The Way You divided into selections for preludes, processionals, including: Adoro • Always Look Tonight • The Wedding Song • and more, with interludes, recessionals and postludes, and contains in My Heart • Bésame bios and photos of the O’Neill Brothers.
  • Woody Mann “Don’T Miss a Chance to See Him

    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.
  • Guitar Blues Book

    Guitar Blues Book

    Guitar Blues Book Ur-Vogel Jeholopterus spielt den Ur-Blues 13. November 2019 Vorwort Dies ist das persönliche Guitar Blues Buch von Hans Ulrich Stalder, CH 5425 Schneisingen. Die zur Webseite www.quantophon.com verlinkten Videos und Musikdateien sind persönliche Arbeitskopien. Ausser wenn speziell erwähnt sind alles MP3- oder MP4-Files. Hier vorkommende Blues-Musiker sind: Big Bill Broonzy geboren als Lee Conley Bradley am 26. Juni 1903 in Jefferson County (Arkansas), †15. August 1958 in Chicago, Illinois, war ein US-amerikanischer Blues-Musiker und Blues-Komponist. Lightnin’ Hopkins geboren als Sam Hopkinsan am 15. März 1912 in Centerville, Texas, † 30. Januar 1982 in Houston, Texas, war ein US- amerikanischer Blues-Sänger und Blues-Gitarrist. Er gilt als einflussreicher Vertreter des Texas Blues. Hans Ulrich Stalder © Seite 2 / 67 Champion Jack Dupree William Thomas "Champion Jack" Dupree, geboren am 23. Oktober 1909 in New Orleans, † 21. Januar 1992 in Hannover, war ein amerikanischer Blues-Sänger und Blues-Pianist. Sam Chatmon geboren am 10. Januar 1897 in Bolton, Mississippi, † 2. Februar 1983 in Hollandale, Mississippi, war ein US-amerikanischer Blues- Musiker. Er stammte aus der musikalischen Chatmon-Familie und begann – wie auch seine Brüder Bo und Lonnie – bereits als Kind, Musik zu machen. Leroy Carr geboren am 27. März 1905 in Nashville, Tennessee, † 29. April 1935 in Indianapolis, war ein US-amerikanischer Blues-Pianist und Sänger. Bekannt war er vor allem zusammen mit seinem langjährigen Partner, dem Gitarristen Francis "Scrapper" Blackwell, mit dem er als Duo auftrat und Aufnahmen machte. Elmore James geboren am 27. Januar 1918 in Mississippi, † 24. Mai 1963 in Chicago, Illinois, war ein US-amerikanischer Bluesmusiker.
  • Epk Sk Copy 2.Pages

    Epk Sk Copy 2.Pages

    The Legendary STEVE KATZ In an Evening Of Story and Song Guitarist/singer/songwriter/storyteller Steve Katz has played on an enviable string of recordings during the 1960s and '70s in acoustic folk, jazz, blues, R&B, hard rock, and almost every other popular genre that's come along in America since the start of the 1960s. Katz was born in Brooklyn, NY in 1945 and grew up in the upstate city of Schenectady. Already a gifted musician in his early teens, he was good enough to get hired for a local television program called Teenage Barn, doing his versions of pop hits of the late '50s. As he got older, Steve was drawn to folk music and blues. He studied traditional American guitar styles with Dave Van Ronk and the Rev. Gary Davis. Eventually, he became part of a circle of similarly minded folk and blues enthusiasts who formed the Even Dozen Jug Band, which also included John Sebastian, Maria Muldaur, David Grisman, and Stefan Grossman. After moving to Greenwich Village, Steve Katz became an established part of the Village music scene, eventually joining The Blues Project, New York City's first major home-grown contribution to blues- rock. The Blues Project had an impact on music that far exceeded their relatively modest record sales. Katz was part of the Blues Project lineup that played the Monterey Pop Festival. Later that same year, with Blues Project bandmate, Al Kooper, Katz founded the original Blood Sweat & Tears. He recorded five albums with the band. Throughout the end of the 1960s and early 70s, Katz performed at countless historic venues including the Fillmore East, and several major rock festivals including Woodstock.
  • The Folk Club of Reston-Herndon Preserving the Traditions of Folk Music, Folk Lore, and Gentle Folk Ways Volume 28, Issue 7 July 2012

    The Folk Club of Reston-Herndon Preserving the Traditions of Folk Music, Folk Lore, and Gentle Folk Ways Volume 28, Issue 7 July 2012

    The Folk Club of Reston-Herndon Preserving the traditions of Folk Music, Folk Lore, and Gentle Folk Ways www.RestonHerndonFolkClub.com Volume 28, Issue 7 July 2012 July 10 Showcase – Scott Malyszka & Friends When I was a spiritual person in my younger days, I loved a good sermon. Now you ask various church people what makes a good sermon, and you'll have trouble getting a lot of agreement. Some people want to hear comfortable, familiar platitudes, and some like loud shouting and stomping around. Others expect the preacher to give a deep academic exposition of a text or topic. I knew one strange guy who would say, "If I don't feel guilty and ashamed after a sermon, then that preacher isn't doing his job." Whoa, yikes! I always felt that a good sermon simply meant telling a good story. When a person could stand in front of an audience and paint stories in their imaginations, well that's what I liked. And when I had the task of delivering a sermon, I tried to put together twenty minutes of good stories. I modeled my sermons on Garrison Keeler and John Steinbeck rather than Billy Graham or Jimmy Swaggart, the most popular preachers back then. After many years as a church person I came to the cynical conclusion that most people go to church to see their friends and to be entertained by the sermon and the music. I'm not a spiritual person now, but I do have a great appreciation for friends, stories, and music. I'm always finding intriguing new melodies from fiddle tunes and songs, and writing my own songs is my way of making up stories today.