Finding Aid for the Tina Mayfield Collection (MUM01758)
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&Blues GUITAR SHORTY
september/october 2006 issue 286 free jazz now in our 32nd year &blues report www.jazz-blues.com GUITAR SHORTY INTERVIEWED PLAYING HOUSE OF BLUES ARMED WITH NEW ALLIGATOR CD INSIDE: 2006 Gift Guide: Pt.1 GUITAR SHORTY INTERVIEWED Published by Martin Wahl By Dave Sunde Communications geles on a rare off day from the road. Editor & Founder Bill Wahl “I would come home from school and sneak in to my uncle Willie’s bedroom Layout & Design Bill Wahl and try my best to imitate him playing the guitar. I couldn’t hardly get my Operations Jim Martin arms over the guitar, so I would fall Pilar Martin down on the floor and throw tantrums Contributors because I couldn’t do what I wanted. Michael Braxton, Mark Cole, Grandma finally had enough of all that Dewey Forward, Steve Homick, and one morning she told my Uncle Chris Hovan, Nancy Ann Lee, Willie point blank, I want you to teach Peanuts, Mark Smith, Dave this boy how to ‘really’ play the guitar Sunde, Duane Verh and Ron before I kill him,” said Shorty Weinstock. Photos of Guitar Shorty Fast forward through years of late courtesy of Alligator Records night static filled AM broadcasts crackling the southbound airwaves out of Cincinnati that helped further de- Check out our costantly updated website. Now you can search for CD velop David’s appreciative musical ear. Reviews by artists, Titles, Record T. Bone Walker, B.B. King and Gospel Labels, keyword or JBR Writers. 15 innovator Sister Rosetta Tharpe were years of reviews are up and we’ll be the late night companions who spent going all the way back to 1974. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] KÜNSTLER FREDDIE KING TITEL Texas Flyer, 1974 - 1976 LABEL Bear Family Records KATALOG # BCD 16778 PREIS-CODE EK EAN-CODE ÆxAKABMRy167781z ISBN-CODE 978-3-89916-550-0 FORMAT 5 CD-Box (LP-Format) mit 80-seitigem geb. Buch GENRE R&B / Rock Instrumental ANZAHL TITEL 64 SPIELDAUER 363:47 G Diese Box komplettiert die Freddie-King-Story: alle RSO-Studioaufnahmen von 1974/75 (einige mit Label- Kumpel Eric Clapton) sowie vier randvolle CDs mit Live-Tracks aus den Mittsiebzigern. G Unsere erste Freddie-King-Box gehörte zu den bestverkauften und am besten rezensierten, die wir je hatten! Dies ist die aufregende Fortsetzung. G Enthält das aufregende 'Burglar'-Album (in England von Mike Vernon produziert) sowie Raritäten und eine unveröffentlichte Version von That's All Right. G Viele der krachenden Livemitschnitte in dieser mächtigen Box hat es nie zuvor gegeben – alle sind in klarem, knackigen Stereo aufgenommen. Auch nicht der Hauch von Bootleg-Qualität! G Das optisch sehr gelungene Begleitbuch enthält viele Fotos, eine Komplett-Discographie und einen umfang- reichen Text mit neuen Interviews, u.a. mit Mike Vernon, dem Trompeter Darrell Leonard (er produzierte sechs der Live-Titel) und einem der bekanntesten King-Bandmusiker aus den 70ern, dem Pianisten David Maxwell. INFORMATIONEN Diese 5-CD-Ausgabe schließt nahtlos an BEAR FAMILYserste, umfangreiche und hochgelobte Freddie-King-Box 'Taking Care Of Business 1956-1973' an; sie dokumentiert die letzten Jahre des großen texanischen Bluesgitarristen für RSO RECORDS, bei denen auch Eric Clapton unter Vertrag stand. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
Ed 366 968 Author Title Institution Report No Pub
DOCUMENT RESUME ED 366 968 CS 214 219 AUTHOR Reynolds, Mark, Ed. TITLE Two-Year College English: Essays for a New Century. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-5541-3 PUB DATE 94 NOTE 246p. AVAILABLE FROMNational Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 55413-3050; $14.95 members, $19.95 nonmembers). PUB TYPE .Collected Works General (020) Books (010) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *College English; *English Instruction; Faculty Development; Instructional Effectiveness; *Nontraditional Students; *Two Year Colleges; Undergraduate Students; *Writing Instruction IDENTIFIERS Curriculum Emphases; Educational Issues; Faculty Attitudes; Technical Communication; Writing Development ABSTRACT Noting that the nearly 1,400 two-year colleges in the United States enroll almost half of all students in highereducation, this collection of essays discusses the students, thecurriculum, and the faculty at these colleges. In essence, the collectionsurveys what is "on the minds" of two-year college Englishteachers. The essays and their authors are:(1) "Introduction" (Mark Reynolds); (2) "I Am Not the Look in Your Eyes" (Janice M. Albert);(3) "This New Breed of College Students" (Mary L. Needham); (4) "'TheOld Lady in the Student Lounge': Integrating the Adult Female Studentinto the College Classroom" (Mary Kay Morrison);(5) "What Happened to Darleen? Reconstructing the Life and Schooling ofan Underprepared Learner" (Smokey Wilson);(6) "Latina/o College Writing Students: Linguistic, Cultural, and Gender Issues" (Kate Mangelsdorf); (7) "Aliteracy among Community College Students" (Raelyn AugustinJoyce); (8) "Today for Tomorrow: Program and Pedagogy for 21-stCentury College Students" (Claudia M. -
OBHOF INDUCTEES Why We Honor Them 2104
OBHOF INDUCTEES 2104 Why We HonorThem: Dr. Harold Aldridge March 3, 2014 Aldridge sings the blues Dr. Harold Aldridge is a retired professor of psychology at NSU in Tahlequah. Tahlequah Daily Press By RENEE FITE Special Writer TAHLEQUAH — The gray is beginning to cover his once-black hair, and it shows when the tall, lanky musician adjusts his black felt cowboy hat. He’s admits to being a little nervous. To keep his hands busy and mind occupied before the show begins, he tunes his guitar, glancing around the room, waving or nodding to friends. “An Evening of Blues Music,” presented at Webb Tower by Dr. Harold Aldridge, professor emeritus of psychology at Northeastern State University, was in observance of Black History month. After a brief introduction and enthusiastic applause, Aldridge began with a joke. “As the milk cow said to the dairy man, ‘Thanks for the warm hand,’” he said. For the next hour, the audience was taken on a journey through black history via the blues, from deep in the Mississippi Delta, to Alabama, the East Coast, Kansas City, Oklahoma, Texas and California. “I’m going to tell you the history of blues, and hopefully, it will be entertaining,” Aldridge said. “I stick with the old stuff, from Memphis, Mississippi, Alabama, and Tennessee.” According to Aldridge, blues music is evolving. “It’s almost like rock in some places; I guess next we’ll have rap blues,” he said. As his story unfolded, the audience learned the blues has changed with varying locations and situations. “The blues originated in West Africa and came here as a feeling, the soul of it, the spirit of high John the Conqueror,” said the Aldridge. -
Mark Hummel Papers
http://oac.cdlib.org/findaid/ark:/13030/c8r216s6 No online items Guide to the Mark Hummel Papers Sean Heyliger African American Museum & Library at Oakland 659 14th Street Oakland, California 94612 Phone: (510) 637-0198 Fax: (510) 637-0204 Email: [email protected] URL: http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland © 2013 African American Museum & Library at Oakland. All rights reserved. Guide to the Mark Hummel MS 223 1 Papers Guide to the Mark Hummel Papers Collection number: MS 223 African American Museum & Library at Oakland Oakland, California Processed by: Sean Heyliger Date Completed: 2018-04-27 Encoded by: Sean Heyliger © 2013 African American Museum & Library at Oakland. All rights reserved. Descriptive Summary Title: Mark Hummel papers Dates: 1978-2012 Collection number: MS 223 Creator: Hummel, Mark Collection Size: .25 linear feet(1 box) Repository: African American Museum & Library at Oakland (Oakland, Calif.) Oakland, CA 94612 Abstract: The Mark Hummel Papers consist of photographs, blues show flyers, blues music publications, audio recordings, and newspaper clippings documenting the career of blues musician Mark Hummel and the San Francisco Bay Area blues scene in the 1970s-1990s. Languages: Languages represented in the collection: English Access No access restrictions. Collection is open to the public. Access Restrictions Materials are for use in-library only, non-circulating. Publication Rights Permission to publish from the Mark Hummel Papers must be obtained from the African American Museum & Library at Oakland. Preferred Citation Mark Hummel papers, MS 223, African American Museum & Library at Oakland, Oakland Public Library. Oakland, California. Acquisition Information Donated by blues musician Mark Hummel to the African American Museum & Library at Oakland on March 30, 2018. -
To Read/Download
1 President’s Column groups to attend our shows (with their membership cards) at SBS By Brandon Bentz, President member prices. My view is that we are one big community of Blues As we approach the New Year, it is time to lovers, and we need to be open-armed to each other. I also targeted sponsored shows at higher visibility venues, such as the Harmonica reflect on the past year. It is a useful exercise to undertake each year to critically evaluate Slapdown at the Harris Center. The Harris Center sends out their where you have been and where you want to seasonal mailers to 100,000+ members, and the advertising power go.I think this has been a great year, and could not be denied. In addition, their membership is a very affluent, I'd like to share with you how I became your educated, and involved group. We signed up 35 new individual and President. family memberships at that show. Our next show to be held there will be the Summer Soulstice 2019 with Wee Willie Walker, Terri I took over the Presidency a little less than a year ago, when Renee Odabi, and the Anthony Paule Soul Orchestra. Hope to see you Erickson was suddenly faced with a serious health problem. I had there. taken the Vice Presidency over just a few months earlier when the former VP stepped down. The Board voted me into the VP spot, to Next was the Board membership crisis. If we fell below a critical fill the vacancy and introduce new blood and new ideas. -
For Immediate Release Contact:Marnie Klein [email protected]
For Immediate Release Contact:Marnie Klein [email protected] Oceanside Theatre Company at The Brooks kicks off its 2018 Music Series on Sunday, April 22, with two American blues treasures: The Rick Holmstrom Band and Nathan James and The Rhythm Scratchers. The Brooks Theatre is located at 217 North Coast Highway, Oceanside, California. Doors open at 6:30 p.m. for happy hour. The show starts at 7:30 p.m. All seats are $25 and tickets are available online at www.oceansidetheatre.org. Holmstrom is an electric blues and rhythm and blues guitarist, singer and songwriter who has worked with musical legends such as Jimmy Rogers, Billy Boy Arnold, R.L. Burnside, Smokey Wilson, Johnny Dyer, William Clarke and Rod Piazza. Holmstrom is currently the bandleader for the great Mavis Staples and can be heard on her Grammy-winning album “You Are Not Alone.” Holmstrom has numerous studio recordings to his credit with his groundbreaking third album “Hydraulic Groove” peaking at No. 9 on the Billboard Top Blues Albums chart. Internationally acclaimed blues guitarist and Oceanside resident Nathan James is a well respected and experienced guitarist in his field, having created a musical identity with his handcrafted washboard guitar, mastery of the Piedmont finger style and passion for blues and American roots music. James has worked with such well known artists as Jamie Wood, Johnny Dyer, Kim Wilson, Pinetop Perkins, Janiva Magness, Rick Holmstrom, Mark Hummel, Gary Primich and blues veteran James Harman. With his trio, The Rhythm Scratchers, James forges a distinct sound that combines elements of 1920's acoustic blues, amplified juke joint hill country, and 1950's uptown blues mixed with 1960's soulful R&B. -
Eric Clapton
ERIC CLAPTON ERIC TRACK LISTING Blues all day long “The Mississippi Delta” StandingStanding aroundaround cryingcrying “The giants” Forty-four It hurts me too “So much emotion” Early in the morning “Like breaking glass” Five long years THE BLUES BUT NOTHING Crossroads “The black James Dean” Malted milk “Chop the cotton” Motherless child How long “Shuffl es” Reconsider baby In late November 1994, movie director and blues music fan Martin Scorcese fi lmed a Sinner’s prayer documentary on guitarist Eric Clapton, who was touring the United States with his “Vibrato” “Nothing but the blues” show. Scorcese recorded interviews with the musician on why the blues genre had infl uenced him so much, as well as two complete shows from the tour Everyday I have the blues at The Fillmore in San Francisco. Someday after a while “Make it sing like a voice” The results of Scorcese’s work were aired once on PBS television stations in the United States, but have never been seen since. Until now. Now on DVD, with visuals taken from Have you ever loved a woman a rare Warner Music promotional video and remastered concert sound from the original Tore down pre-FM master tapes, this fi lm provides a lasting chronicle of one of Clapton’s most “A more vibrant tone” critically-acclaimed tours. Groaning the blues MARTIN SCORCESE PRESENTS A WARNER BROS MUSIC/REPRISE PRODUCTION “I always come back” ERIC CLAPTON “NOTHING BUT THE BLUES” Ain’t nobody’s business ERIC CLAPTON, ANDY FAIRWEATHER-LOW, CHRIS STAINTON, DAVE BRONZE, JERRY PORTNOY, ANDY NEWMARK, Driftin’ SIMON CLARKE, TIM SANDERS & RODDY LORIMER WITH JIMMY ROGERS, BUDDY GUY & BB KING LIVE RECORDING TOUR PRODUCTION TOUR GUITAR SUPERVISION RUSS TITELMAN MANAGER MICK DOUBLE CO -ORDINATION PETER JACKSON TECHNICIAN LEE DICKSON WRITING & EXECUTIVE PRODUC TION STEPHEN “SCOOTER” WEINTRAUB PRODUCER MARTIN SCORCESE DVD MENUS DOLBY 2.0 DVD COVER Running time 1h 46m & AUTHORING GEETARZ, BUTTON PRODUCTIONS REMASTER ING JOEY JAY ARTWORK BLACK MOUSE ERIC CLAPTON NOTHING BUT THE BLUES A FILM BY MARTIN SCORCESE. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
Complete John Lee Hooker Session Discography
The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The Great R&B Files (# 2 of 12) PaRT i Updated July 8, 2019 The John Lee Hooker Session Discography - compiled by Claus Röhnisch The R&B Pioneers Series – Volume Two of twelve The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info page 1 (94) 1 The World’s Greatest Blues Singer The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The John Lee Hooker Session Discography - compiled by Claus Röhnisch John Lee Hooker – The World’s Greatest Blues Singer / The R&B Pioneers Series – Volume Two of twelve Below: Hooker’s first record, his JVB single of 1953, and the famous “Boom Boom”. The “Hooker” Box, Vee-Jay’s version of the Hooker classic, the original “The Healer” album on Chameleon. BluesWay 1968 single “Mr. Lucky”, the Craft Recordings album of March 2017, and the French version of the Crown LP “The Blues”. Right: Hooker in his prime. Two images from Hooker’s grave in the Chapel of The Chimes, Oakland, California; and a Mississippi Blues Trail Marker on Hwy. 3 in Quitman County (Vance, Missisippi memorial stone - note birth date c. 1917). 2 The World’s Greatest Blues Singer The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info . December 31, 1948 (probably not, but possibly early 1949) - very rare (and very early) publicity photo of the new-found Blues Star (playin’ his Gibson ES 175).