Jazz Collection: Bill Withers’ Lovely Days – Gutes Timing Und Ein Selbstbe- Stimmtes Leben

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Jazz Collection: Bill Withers’ Lovely Days – gutes Timing und ein selbstbe- stimmtes Leben Dienstag, 03.07.2018, 20.00 – 22.00 Uhr Samstag, 07.07.2018, 17.00 – 18.30 Uhr (mit Bonustracks) Mit Hits wie «Ain’t No Sunshine», «Lean On Me» und «Use Me» singt sich der Soulsänger in den Kanon der Musikgeschichte. Eine Jahrhundertkarriere, wäre da nicht ihr frühes Ende: Mitte der 1980er zieht sich Bill Withers bewusst aus dem Popbetrieb zurück. Dabei hat er sich erst mit knapp 30 an seinen Traum der Musikerkarriere gewagt. Jahrelang bleibt Bill Withers ohne Erfolg, bis ein kleiner Song dann den Nerv der Zeit trifft. Triefend vor Pathos die Stimme, lakonisch die Band: «Ain’t No Sunshine» ist Bill Withers erster von unzähligen Hits während der 1970er. Melancholisch, voller Ironie und mit aussergewöhnlichen Bildern treffen sie den Nerv einer Generation und werden zu zeitlosen Klassikern. Gemeinsam mit dem Schaffhauser Soulsänger Philipp Albrecht taucht Annina Salis ein in die Musik- und Textwelt von Bill Withers. Gast: Philipp Albrecht Redaktion und Moderation: Annina Salis Bill Withers – Still Bill Label: Sussex Track 03: Who Is He (And What Is He To You)? Track 04: Use Me Bill Withers – Just As I Am Label: Sussex Track 02: Ain't No Sunshine Track 01: Harlem Track 03: Grandma's Hands Blackstreet – Another Level Label: Interscope Records Track 03: No Diggity Bill Withers – Live at Carnegie Hall Label: Sussex Track 04: Grandma's Hands (With Rap) Track 10: Lean On Me Track 09: I Can't Write Left Handed Bill Withers – +'Justments Label: Sussex Track 07: Can We Pretend Bill Withers – Making Music Label: Columbia Track 09: Don't You Want To Stay? Grover Washington, Jr. feat. Bill Withers – Winelight Label: Elektra Track 01: Just The Two Of Us .

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Biu Withers by Rob Bowman He Was the Leading Figure in the Nascent Black Singer-Songwriter Movement of the Early 1970S
PERFORMERS BiU Withers By Rob Bowman He was the leading figure in the nascent black singer-songwriter movement of the early 1970s. BILL WITHERS WAS SIMPLY NOT BORN TO PLAY THE record industry game. His oft-repeated descriptor for A&R men is “antagonistic and redundant.” Not surprisingly, most A&R men at Columbia Records, the label he recorded for beginning in 1975, considered him “difficult.” Yet when given the freedom to follow his muse, Withers wrote, sang, and in many cases produced some of our most enduring classics, including “Ain’t No Sunshine,” “Lean on Me,” “Use Me,” “Lovely Day,” “Grandma’s Hands,” and “Who Is He (and What Is He to You).” ^ “Not a lot of people got me,” Withers recently mused. “Here I was, this black guy playing an acoustic guitar, and I wasn’t playing the gut-bucket blues. People had a certain slot that they expected you to fit in to.” ^ Withers’ story is about as improb able as it could get. His first hit, “Ain’t No Sunshine,” recorded in 1971 when he was 33, broke nearly every pop music rule. Instead of writing words for a bridge, Withers audaciously repeated “I know” twenty-six times in a row. Moreover, the two-minute song had no introduction and was released as a throwaway B-side. Produced by Stax alumni Booker T. Jones for Sussex Records, the single’s struc ture, sound, and sentiment were completely unprecedented and pos sessed a melody and lyric that tapped into the Zeitgeist of the era. Like much of Withers’ work, it would ultimately prove to be timeless.
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