Memphis Swamp
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
WGLT Program Guide, August-September, 1998
Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Fall 8-1-1998 WGLT Program Guide, August-September, 1998 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, August-September, 1998" (1998). WGLT Program Guides. 161. https://ir.library.illinoisstate.edu/wgltpg/161 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ·.·. time Blues . Summ . 1998 Program Gu1 'de for August / September GLT Staff Profile: Music Director p1iorities were together because I didn't want one thing to falter because of the other. and Blues Host, Marc Boon LK: What does it take to make a good blues DJ? MB:: Being able to connect with your audience. I know a lot of people in this Marc is a native of Central Illinois. While in high school, community who are the same age as I am and we all grew up listening to the same he studied theatre, but his heart eventually led him to music. I think with my particular blues, the shades I paint with, [ try to incorporate pursue his love of music. In 1985, he came to Illinois some of the old rock we used to listen to as kids. I think that'll really grab their ear State University and got a job at GLT as a part-time DJ. -
Sleepy John Estes with Noah Lewis & Yank Rachel / Gus Cannon
Sleepy John Estes First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: First Recordings With Lewis & Rachel / The Legendary 1928-1930 Recordings Country: UK Released: 2002 MP3 version RAR size: 1878 mb FLAC version RAR size: 1650 mb WMA version RAR size: 1953 mb Rating: 4.1 Votes: 526 Other Formats: WAV MPC APE AHX AUD MP2 FLAC Tracklist Hide Credits Broken Hearted, Ragged And Dirty, Too 1-1 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* The Girl I Love, She Got Long Curly Hair 1-2 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Divin' Duck Blues 1-3 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* –John Estes* And Little Sarah 1-4 James Rachel* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin – James Rachel* Black Mattie Blues 1-5 –John Estes* Harmonica – 'Tee'Mandolin – James Rachel*Vocals, Guitar – John Estes* T-Bone Steak Blues –John Estes* And 1-6 Guitar – John Estes*Harmonica – 'Tee'Vocals, Mandolin – James James Rachel* Rachel* Chickasaw Special 1-7 –Noah Lewis Harmonica – Noah Lewis Devil In The Woodpile 1-8 –Noah Lewis Harmonica, Speech – Noah Lewis Milk Cow Blues 1-9 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Street Car Blues 1-10 –John Estes* Mandolin – James Rachel*Piano – Jab JonesVocals, Guitar – John Estes* Expressman Blues 1-11 –John Estes* Guitar – John Estes*Piano – Jab JonesVocals, Mandolin -
Colin Linden – Blow Biography
Colin Linden – bLOW Biography “Got a coin in my pocket heavy and gold/It don’t own me I need to let it go/Cause having is wanting/Desire can make you weep” – “bLOW” Colin Linden’s tale is the stuff of legend, the kind told in the Coen brothers’ O Brother Where Art Thou or Inside Llewyn Davis, both of which featured his guitar playing on the soundtracks. That film would begin with an 11-year-old meeting his musical idol Howlin’ Wolf at a matinee show in his native Toronto, accompanied by his mom, who took a picture of the two during a nearly two-hour long conversation before the gig, the legendary bluesman idling over coffee and cigarettes. “I’m an old man now, and I won’t be around much longer,” Wolf told him. “It’s up to you to carry it on.” Linden still carries that frayed photograph in his wallet, along with a Sears 5/8” socket wrench in his pocket to play slide guitar. He has taken Wolf’s plea seriously, performing since he was 12 years old, leaving home as a teenager to travel the south at the invitation of Mississippi Sheiks delta blues guitarist Sam Chatmon which took him to Detroit, Chicago, Indianapolis, St. Louis, Memphis and Hollandale, Mississippi, meeting and visiting the sites of his heroes – Brownie McGhee, Muddy Waters, Sippie Wallace, Tampa Red, Blind John Davis, the Rev. Robert Wilkins, Sleepy John Estes and Son House, visiting the landmarks and juke joints, many of which he’s played in during the course of a 45-year career producing and playing blues and roots music. -
Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?
Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon. -
Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
A. L'histoire Du Blues Exemple-Type : Memphis Jug Band, Sugar Pudding
A. L’histoire du blues Exemple-type : Memphis Jug Band, Sugar pudding (Take your fingers off it), 1928 Ou On the Road again Groupe parfaitement représentatif de ce qu’est le blues : Naissance dans ce qu’on appelle le Delta. Esprit du blues apparaît au 18ème dans les plantations de coton. Maîtres blancs entreprennent l’évangélisation des esclaves ® leur permettent d’assister aux offices religieux ® Ecoutent des cantiques blancs qu’ils revisitent & transforment avec des rythmes africains ð Negro spirituals. Ex. Swing low sweet chariot c. 1865 Enregistrement : Fisk Jubilee Singers, 1909 Abolition de l’esclavage, 4 avril 1863 ® Les esclaves deviennent un sous-prolétariat agricole. Des chanteurs itinérants passent dans les villages pour les distraire : chantent des ballades du folklore irlandais, au violon + banjo. 1880 : nelles lois ségrégationnistes du Sud = interdiction de tout droit politique et civique aux Noirs. ® Nelle coloration des chants : le blues devient plus agressif & les negro spirituals demandent l’intervention de r. ® Les Noirs quittent le Sud : ± 2 millions (entre 1865 et 1914) montent vers le Nord & les cités industrialisées. 1ère étape : Memphis, à la frontière du Tennessee et du Mississippi. Cette population se concentre le long du Mississippi, dans le quartier populaire de Beale Street. ð C’est à Memphis que le Blues va se façonner et s’organiser. Histoire du blues moderne : — Beaucoup d’historiens considèrent Charlie Patton comme le père fondateur du Blues (ce qu’on appelle le Delta Blues) 1er à enregistrer un disque en 1929 for Paramount Fils d’un propriétaire de plantation (hors norme) qui choisit de devenir prédicateur ® rencontre des musiciens qui vont l’initier au blues dans le delta. -
WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind. -
Hoodoo Man Blues--Junior Wells (1965) Added to the National Registry: 2012 Essay By: Bill Hart (Guest Post)*
Hoodoo Man Blues--Junior Wells (1965) Added to the National Registry: 2012 Essay by: Bill Hart (guest post)* Junior Wells Original label Album cover When I think of the Chicago blues, particularly the era of the “electric blues,” I usually think of the legendary performers on the Chess label, most of whom are dead and gone, the label now operating as part of the Universal Music Group. A few small labels, like Alligator Records, which started in 1971, Earwig Music (founded in Chicago in 1978 by Michael Franks) and Red Lightnin,’ established in the UK in 1968, have catalogs of older blues recordings or distribute “contemporary blues.” But Delmark Records, founded in St. Louis in 1953, and based in Chicago since 1958, is not only one of the “original” Chicago blues labels, but still remains in operation today. Delmark is also still run by its founder, Bob Koester, who is a legendary figure in his own right (and graciously agreed to supply me with information concerning the record). Koester produced and Delmark released “Hoodoo Man Blues” in 1965. The record has never gone out of print (except for a few months when Delmark moved its offices). And look up any list of “essential” blues records and it is there. There’s good reason for that. Though he had not yet been discovered by a national audience when the album was recorded in September of 1965, 30-year old Junior Wells was a well-established harmonica player and vocalist on the Chicago blues scene. He made his first recording as a replacement in Muddy Waters’s band for the legendary Little Walter in 1952. -
Print Version (Pdf)
Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges. -
Prairie Progressive • Spring 2015
THE PRAIRIE PROGRESSIVE Spring 2015 A NEWSLETTER FOR IOWA’S DEMOCRATIC LEFT Cousins, Clerics, and the Constitution hen the current Constitution of the Equal Protection clauses of the familial status of such person.” This the State of Iowa was debated United States and Iowa Constitutions is directly quoted from Iowa’s Civil Wand adopted in 1857, the first days as it pertains to zoning. Rights Statute. of the convention were rife with arguments of moving the convention Two bills are moving in the Iowa Leg- It has been difficult to get legislators from Iowa City because of the lack islature this year. House File 161 is a to listen to the argument that the of housing. Out-of-towners thought bill in the House of Representatives Ames Rental lawsuit is not the final the price of accommodations in Iowa that prohibits the regulation of rental word on this matter. The lawsuit City were not fair. Besides, as one property by a city based upon famil- was brought by landlords and they delegate stated, “Half of the members ial relationships. It has a partner in sued the city in the only way they of the Convention have to sleep three the Iowa Senate – Senate Study Bill could. Landlords could not use the in a bed, and two on a bunk.” 1218 (which will have a new name Civil Rights Statute to bring a law- and number after Prairie Dog sends suit because they would not have The cost of accommodations in Iowa this out to readers). The bills were standing (standing, or locus standi, City may still be steep, especially on identical at their inception, but SSB is the requirement that a plaintiff has weekends during the fall months, 1218 has been amended in Committee sustained or will sustain direct injury but otherwise, things have changed.