Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
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Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation. -
Memphis Jug Baimi
94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
Memphis, Tennessee, Is Known As the Home of The
Memphis, Tennessee, is known as the Home of the Blues for a reason: Hundreds of bluesmen honed their craft in the city, playing music in Handy Park and in the alleyways that branch off Beale Street, plying their trade in that street’s raucous nightclubs and in juke joints across the Mississippi River. Mississippians like Ike Turner, B.B. King, and Howlin’ Wolf all passed through the Bluff City, often pausing to cut a record before migrating northward to a better life. Other musicians stayed in Memphis, bristling at the idea of starting over in unfamiliar cities like Chicago, St. Louis, and Los Angeles. Drummer Finas Newborn was one of the latter – as a bandleader and the father of pianist Phineas and guitarist Calvin Newborn, and as the proprietor of his own musical instrument store on Beale Street, he preferred the familiar environs of Memphis. Finas’ sons literally grew up with musical instruments in their hands. While they were still attending elementary school, the two took first prize at the Palace Theater’s “Amateur Night” show, where Calvin brought down the house singing “Your Mama’s On the Bottom, Papa’s On Top, Sister’s In the Kitchen Hollerin’ ‘When They Gon’ Stop.’” Before Calvin followed his brother Phineas to New York to pursue a jazz career, he interacted with all the major players on Memphis’ blues scene. In fact, B.B. King helped Calvin pick out his first guitar. The favor was repaid when the entire Newborn family backed King on his first recording, “Three O’ Clock Blues,” recorded for the Bullet label at Sam Phillips’ Recording Service in downtown Memphis. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting. -
The Jones Tones Are a Veteran Band of Four Musicians, All with a Distinctive Style and Personality That Blends Into a Powerful Whole
Davey J and the Jones Tones are a veteran band of four musicians, all with a distinctive style and personality that blends into a powerful whole. As bandleader, Davey J's approach to the blues is all about Furry Lewis (by Reverend Keith A. Gordon, About.com Guide) the shuffle, a style and tempo pioneered in acoustic Delta blues and electric Chicago blues. When the four- Bridging the gap between the early acoustic blues of the Mississippi Delta of the 1920s and the rediscovery piece band gets its groove on, you can hear the foot-tapping acoustic-electric sounds from the era of of so-called "folk" or country blues by white audiences in the '60s, Furry Lewis was both a unique stylist and a rockabilly, Nashville country and western, early rock and roll, and of course, classic Chicago blues. And in throwback to the sound of an earlier era. Equally capable of playing guitar with an original fingerpicked style the midst of the traditional shuffle tempos and rich vocals, Davey J also uses processing tools of the 21st as well as delivering a mean slide-guitar sound, Lewis was a charismatic storyteller and a flamboyant century to add an edge to his acoustic guitar sound. So, as the Jones Tones perform songs that range from showman that performed naturally with skill and humor. the 1930s Delta blues to the blues styles of our time, the band pays tribute to blues traditions as well as Born Walter Lewis in Greenwood, Mississippi in the Delta, the exact year of his birth remains in question, and creating an original new sound. -
Stax Reissues 'Boy Meets Girl: Classic Soul' Duets
PRLog - Global Press Release Distribution Stax Reissues 'Boy Meets Girl: Classic Soul' Duets Duets include Eddie Floyd & Mavis Staples, William Bell & Carla Thomas, Delaney & Bonnie Bramlett, and a rare one from Dusty Springfield & Spencer Davis July 20, 2009 - PRLog -- LOS ANGELES, Calif. — Stax Records through Concord Music Group will reissue its 1969 compilation Boy Meets Girl, which paired Stax male and female artists for a set of classic duets. Featured are many of the greatest names in soul music including Johnnie Taylor, Eddie Floyd, Pervis Staples, Carla Thomas, William Bell, Mavis Staples and Cleotha Staples. The reissue adds two rare duets of Bell and Booker T. Jones’ ”Private Number,” by Bell and Judy Clay, and by Dusty Springfield and Spencer Davis. The latter version was previously available only on a long out-of-print mid-‘80s Takoma Records release. The album is slated for a street date of August 18, 2009. “Duets have always been an integral part of the history of soul music,” writes Stax historian Rob Bowman in his liner notes, “Boy Meets Girl provides a vehicle for several interesting examples of the medium cut for the mighty Stax Records.” Most of Boy Meets Girl was recorded in 1969 at the suggestion of Stax president Al Bell, who felt Stax should progress from a singles label to an album-oriented label. A variety of producers oversaw the various tracks including Bell himself, Isaac Hayes, Booker T. Jones, Don Davis, Donald “Duck” Dunn, Randy Jackson, Homer Banks and Don Nix. The 18-track set begins with the Bell-Clay “Private Number”; next, Bell and Mavis Staples reprise the Sam & Dave hit “I Thank You”; Eddie Floyd and Mavis Staples tackle Janis Joplin’s “Piece of My Heart”; Johnnie Taylor and Carla Thomas perform “Just Keep On Loving Me”; and Eddie Floyd and Mavis Staples perform Floyd and Booker T. -
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. -
New Mexico Daily Lobo, Volume 075, No 83, 2/7/1972." 75, 83 (1972)
University of New Mexico UNM Digital Repository 1972 The aiD ly Lobo 1971 - 1980 2-7-1972 New Mexico Daily Lobo, Volume 075, No 83, 2/ 7/1972 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1972 Recommended Citation University of New Mexico. "New Mexico Daily Lobo, Volume 075, No 83, 2/7/1972." 75, 83 (1972). https://digitalrepository.unm.edu/daily_lobo_1972/12 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1971 - 1980 at UNM Digital Repository. It has been accepted for inclusion in 1972 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. 37~;7 ~<i Ne\N Mexico Un '"3 QvJ C6~~ \ DAILY Monday, February 7, 1972 "'13 Mass March ' ~ 't• j; o,J:, j;~onors Slain v.~<o" ~*~lack Berets . _..(,~ Carrying signs stating "Stop .,.&,..,...,. Killing Our People 11 and "I Am ·~~,... Proud To Be A Chicano, 11 UNM students, faculty and local community members Satm;day celebrated a mass in commemoration of two Chicanos The mass, by a march on pollee headquarters, began at 1 . ' /4111 p.m. Saturday in Roosevelt Park. Four Catholic priests read the bilingual ceremony in which they asked the group to "offer the wicked no resistance." Fr. Michael O'Brian, of San Jose parish, told the ass~mbled, "We want to do the best for our AI\~ country. We know peacemaking of the Black Berets as the group and "Chicano Power," the nroceeded to oolice headauarters marchers moved on to Robinson at 4th St. -
BLUES REVIEWS Usual Spectacular Self
BLUES REVIEWS usual spectacular self. No the South on a recording “Moanin’ and Groanin’ the latest in a ton of the good genre jumping, no fusionist jag to uncover country- Blues” (plus two others). reverend’s albums, comes promiscuity. Not even brass blues geniuses in the raw. In this golden age we live, across as a glorious blast or keys. Just his stinging This time was Columbus where vinyl-only labels like of Sunday-go-to-meeting guitar and molasses voice, Guffin’s shot at beating Sutro Park and Mississippi romp, of gutbucket gospel a bruising three-man silent anonymity. To show Records lovingly reclaim groove. Over the span of backstop, and one broad- the world how he could sure lost blues treasures like Lum its 10 solo affirmations and shouldered groove after the make that guitar of his ring Guffin, it just doesn’t seem revelations, the clapboard next. “Bring Your Pretty out. Here lies stellar proof right unlocking the woozy church merges with the Self Home” hustles out of that the legit Tennessee bottlenecked secrets of “Old pressboard juke joint into one the gates first, its lover-man bluesman ever existed at Time Piece” or the stately inseparable space: The wolf KING EDWARD persuasiveness delivered all. Sure, Lum (1902-1993) slide eulogy for “Johnny indeed dwells with the lamb. 50 Years of Blues with crosscut motion. busked on the streets of Wilson” as a sterile stream That bond snugs tighter yet HIT THE ROAD But King’s sweet spot Depression-era Memphis of binary code. Dropping in from all these conversations ometimes, radar just flat really lies in mid-paced and later built quite the a stylus is the cherished way between a man and his Sout fails.