Tuesday, 3 January 2012
Junior Wells
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.
In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."
The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).
Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.
Source: All Music.com.
Monday, 2 January 2012
Sunday, 1 January 2012
Saturday, 31 December 2011
Tomorrow
Friday, 30 December 2011
Buddy Guy
High-energy guitar histrionics and boundless on-stage energy have always been Guy trademarks, along with a tortured vocal style that's nearly as distinctive as his incendiary rapid-fire fretwork. He's come a long way from his beginnings on the '50s Baton Rouge blues scene; at his first gigs with bandleader "Big Poppa" John Tilley, the young guitarist had to chug a stomach-jolting concoction of Dr. Tichenor's antiseptic and wine to ward off an advanced case of stage fright. But by the time he joined harpist Raful Neal's band, Guy had conquered his nervousness.
Guy journeyed to Chicago in 1957, ready to take the town by storm. But initially, times were tough, until he turned up the juice as a showman (much as another of his early idols, Guitar Slim, had back home). It didn't take long after that for the new kid in town to establish himself. He hung with the city's blues elite: Freddy King, Muddy Waters, Otis Rush, and Magic Sam, who introduced Buddy Guy to Cobra Records boss Eli Toscano. Two searing 1958 singles for Cobra's Artistic subsidiary were the result: "This Is the End" and "Try to Quit You Baby" exhibited more than a trace of B.B. King's influence, while "You Sure Can't Do" was an unabashed homage to Guitar Slim. Willie Dixon produced the sides.
When Cobra folded, Guy wisely followed Rush over to Chess. With the issue of his first Chess single in 1960, Guy was no longer aurally indebted to anybody. "First Time I Met the Blues" and its follow-up, "Broken Hearted Blues," were fiery, tortured, slow blues brilliantly showcasing Guy's whammy-bar-enriched guitar and shrieking, hellhound-on-his-trail vocals.
Although he's often complained that Leonard Chess wouldn't allow him to turn up his guitar loud enough, the claim doesn't wash: Guy's 1960-1967 Chess catalog remains his most satisfying body of work. A shuffling "Let Me Love You Baby," the impassioned downbeat items "Ten Years Ago," "Stone Crazy," "My Time After Awhile," "Leave My Girl Alone," and a bouncy "No Lie" rate with the hottest blues waxings of the '60s. While at Chess, Guy worked long and hard as a session guitarist, getting his licks in on sides by Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, and Koko Taylor (on her hit "Wang Dang Doodle").
Upon leaving Chess in 1967, Guy went to Vanguard. His first LP for the firm, A Man and the Blues, followed in the same immaculate vein as his Chess work and contained the rocking "Mary Had a Little Lamb," but This Is Buddy Guy and Hold That Plane! proved somewhat less consistent. Guy and harpist Junior Wells had long been friends and played around Chicago together (Guy supplied the guitar work on Wells' seminal 1965 Delmark set Hoodoo Man Blues, initially billed as "Friendly Chap" because of his Chess contract); they recorded together for Blue Thumb in 1969 as Buddy & the Juniors (pianist Junior Mance being the other Junior) and Atlantic in 1970 (sessions co-produced by Eric Clapton and Tom Dowd), and 1972 for the solid album Buddy Guy & Junior Wells Play the Blues. Buddy and Junior toured together throughout the '70s, their playful repartee immortalized on Drinkin' TNT 'n' Smokin' Dynamite, a live set cut at the 1974 Montreux Jazz Festival.
Guy's reputation among rock guitar gods such as Eric Clapton, Jimi Hendrix, and Stevie Ray Vaughan was unsurpassed, but prior to his Grammy-winning 1991 Silvertone disc Damn Right, I've Got the Blues, he amazingly hadn't issued a domestic album in a decade. That's when the Buddy Guy bandwagon really picked up steam: he began selling out auditoriums and turning up on network television (David Letterman, Jay Leno, etc.). Feels Like Rain, his 1993 encore, was a huge letdown artistically, unless one enjoys the twisted concept of having one of the world's top bluesmen duet with country hat act Travis Tritt and hopelessly overwrought rock singer Paul Rodgers. By comparison, 1994's Slippin' In, produced by Eddie Kramer, was a major step in the right direction, with no hideous duets and a preponderance of genuine blues excursions. Last Time Around: Live at Legends, an acoustic outing with longtime partner Junior Wells, followed in 1998. In 2001, Guy switched gears and went to Mississippi for a recording of the type of modal juke-joint blues favored by Junior Kimbrough, R.L. Burnside, and the Fat Possum crew. The result was Sweet Tea: arguably one of his finest albums and yet a complete anomaly in his catalog. Oddly enough, he chose to follow that up with Blues Singer in 2003, another completely acoustic effort that won a Grammy. For 2005's Bring 'Em In, it was back to the same template as his first albums for Silvertone, with polished production and a handful of guest stars. Skin Deep appeared in 2008 and featured guest spots by Susan Tedeschi, Derek Trucks, Eric Clapton, and Robert Randolph. Snakebite was released in 2009, followed by Living Proof a year later in 2010.
A Buddy Guy concert can sometimes be a frustrating experience. He'll be in the middle of something downright hair-raising, only to break it off abruptly in midsong, or he'll ignore his own massive songbook in order to offer imitations of Clapton, Vaughan, and Hendrix. But Guy, whose club remains the most successful blues joint in Chicago (you'll likely find him sitting at the bar whenever he's in town), is without a doubt the Windy City's reigning blues artist, and he rules benevolently.
Source: All Music.com.
Buddy Emmons
Buddy Emmons
earned a place among Nashville's elite as one of the finest steel
guitar players in the business. Born in Mishawaka, IN, he first fell in
love with the instrument at age 11 when he received a six-string lap
steel guitar as a gift. As a teen, he enrolled at the Hawaiian
Conservatory of Music in South Bend, IN, and began playing
professionally in Calumet City and Chicago at age 16. In 1956, Emmons went to Detroit to fill in for Walter Haynes during a performance with Little Jimmy Dickens; soon afterward he was invited to join Dickens' Country Boys. He appeared with them a few times on The Grand Ole Opry
and recorded with them on a few singles, including "Buddy's Boogie"
(1957). He also recorded a pair of solo singles for Columbia, "Cold
Rolled Steel" (1956) and "Silver Bells" (1957).
In the late '50s, Emmons began playing occasionally with Ernest Tubb's band on Midnight Jamboree. In 1963, he began a five-year stint with Ray Price & the Cherokee Cowboys, and in 1965 teamed up with fellow steel player Shot Jackson to record the LP Steel Guitar & Dobro Sound. This led the two to create the Sho-Bud Company, which sold an innovative steel guitar that used push-rod pedals. In 1969, Emmons joined Roger Miller's Los Angeles-based band as a bass player. When not touring with Miller, he did session work for a variety of artists. He quit Miller's band in 1973 and signed a solo contract, releasing several albums in the late '70s.
After 1978, Emmons began playing for a number of small labels, where he and Ray Pennington occasionally collaborated with some of Nashville's finest sidemen as the Swing Shift Band. In 1993, Emmons began touring with the Everly Brothers. He continued to play in recording sessions throughout the '90s and into the new millennium, but was forced to stop playing around 2001 due to a repetitive motion injury. Emmons fully recovered but decided not to return to regular session work, preferring to record only with selected artists and to perform intermittently.
In the late '50s, Emmons began playing occasionally with Ernest Tubb's band on Midnight Jamboree. In 1963, he began a five-year stint with Ray Price & the Cherokee Cowboys, and in 1965 teamed up with fellow steel player Shot Jackson to record the LP Steel Guitar & Dobro Sound. This led the two to create the Sho-Bud Company, which sold an innovative steel guitar that used push-rod pedals. In 1969, Emmons joined Roger Miller's Los Angeles-based band as a bass player. When not touring with Miller, he did session work for a variety of artists. He quit Miller's band in 1973 and signed a solo contract, releasing several albums in the late '70s.
After 1978, Emmons began playing for a number of small labels, where he and Ray Pennington occasionally collaborated with some of Nashville's finest sidemen as the Swing Shift Band. In 1993, Emmons began touring with the Everly Brothers. He continued to play in recording sessions throughout the '90s and into the new millennium, but was forced to stop playing around 2001 due to a repetitive motion injury. Emmons fully recovered but decided not to return to regular session work, preferring to record only with selected artists and to perform intermittently.
Source: All Music.com.
Thursday, 29 December 2011
Buddaheads
BB's music is a mix of roots rock with a blues base. BB has always claimed blues to be his first love, but comes from a generation that loves to rock. Their first CD "Blues Had A Baby", was released in 1994 on RCA/BMB and received generous support from radio fans. If you have to categorize the music, it is somewhere between newer artists Kenny Wayne Shepherd and Blues Travelers. But make no mistake, BB Chung King & The Buddaheads are the original LA version!
BB keeps quite busy with the Buddaheads, but also finds time to write, record and produce music for other artists. BB has written songs for blues legends such as Lonnie Brooks, Tinsley Ellis and recently helped Ruth Brown receive a Grammy for her performance of his song "Too Little, Too Late". Then he produced, wrote, engineered and played on B.J. Sharp's Grammy nominated CD "Never Felt No Blues". Her CD reached number 4 in the charts in Europe, without being issued there!
You can also hear the Buddaheads paying tribute to Lowell George. Together with Eddie Money, they perform the title track to the tribute album titled "Rock and Roll Doctor" (a song which appears as a bonus track on the Buddaheads "Live Japan" CD).
"Play Hard", the third full length album, was released in Japan by Kiagan Records. Here in the US, the band is negotiating a new contract and distribution deal. To please the demand of the rest of their fans around the world, they have added some recent songs and the now re-titled, selfmanufactured limited edition CD "In The Mirror", is available and will no doubt become a collectors item.
"Go For Broke" is a breathtaking collection of Rockin' Blues and power packed ballads.
Buddaheads songs can also be heard in the following films:
MY COUSIN VINNY • HEAVEN & EARTH • ROBO COP II • CONTACT • BRING DOWN THE STARS • GREAT EXPECTATIONS & • CHUCK NORRIS' FOREST WARRIOR. And on the TV shows: E.R., The Young & The Restless & Melrose Place.
BB himself also had a small acting role in the movie BOYS ON THE SIDE staring Whoopi Goldberg.
Source: Buddaheads.com.
Bud Shank
Bud Shank
has been an integral member of the international jazz scene for 60 years.
A respected saxophonist, composer, and arranger, his soaring dynamic
performances have enlivened countless concerts, festivals, nightclubs,
and recording sessions.
Shank
first came to prominence in the big bands of Charlie Barnet
and Stan
Kenton during the late 1940s. In the 1950s the saxophonist
began a long
tenure with Howard Rumsey's Lighthouse All Stars, as well as
work with his own quartet. A charter member of the "West Coast" jazz
movement, Shank's cool but always strongly swinging sound has made him
one of a handful of sax players with an instantly recognizable and
always exciting sound. In addition to club and concert dates this period
found the musician producing some 50 diverse albums.
During
the next two decades Shank augmented his club, university, and festival
appearances with
a healthy amount of studio work. A first call alto sax and flute player,
he was a four-time winner of the coveted Most Valuable Player award from
the National Academy of Recording Arts and Sciences (NARAS).
In the
1970s and 80s Shank joined with Ray Brown, Jeff Hamilton, and Laurindo
Almeida to form the world-renowned LA Four, who recorded and toured
extensively through the decade. Shank helped to popularize both Latin-flavored
and chamber jazz music, and as a musician's musician also performed
with orchestras as diverse as the Royal Philharmonic, the New American
Orchestra, the Gerald Wilson Big Band, Stan Kenton's Neophonic Orchestra,
and the legendary Duke Ellington.
In the
1990s Shank continued to grow and explore, creating the multi-media
jazz performance, "The Lost Cathedral,"
expanding the Bud Shank Jazz Workshop and Jazz Southwest
Festival in Albuquerque, and touring with his quartet and sextet.
Both bands feature exemplary writing, tight and fiery playing, and a
joyous sense of collaboration.
Today,
Bud Shank juggles a packed schedule of touring, festivals, and teaching
combined with select major club performances and time set aside for
composing and arranging. He is in demand as a clinician, and is available
in a duo, as leader of his own quartet and sextet, and as a feature
soloist with orchestra or big band, or with all star groups. With over
60 years as a professional jazz musician, Bud Shank has more than earned
his status as a legend.
Source: Bud Shank Alto.com.
Wednesday, 28 December 2011
Bud Powell
His first recordings were made in 1944, when he was a 20 year old pianist in the Cootie Williams Band, and his last recordings were made in 1964 when he returned from several years in Europe to play at Birdland.
Between those dates Bud Powell played with the greatest jazz musicians of his generation including Charlie Parker, Dizzy Gillespie, Miles Davis, Sonny Rollins, Dexter Gordon, Charlie Mingus and Max Roach. The recordings he made for the forerunners of the Verve label and for Blue Note, as well as many lesser known labels, are among the greatest jazz recordings of all time.
Not as much of a showman as musicians like Charlie Parker and Dizzy Gillespie, Bud Powell has not received as much public recognition as some of his contemporaries. Nevertheless his fellow musicians were in awe of his creativity and skill, which in his prime were considered almost superhuman.
Source: Bud Powell.com.
Bud Freeman
Freeman, excited (as were the other members of the Austin High School Gang in Chicago) by the music of the New Orleans Rhythm Kings, took up the C-melody sax in 1923, switching to tenor two years later. It took him time to develop his playing, which was still pretty primitive in 1927 when he made his recording debut with the McKenzie-Condon Chicagoans. Freeman moved to New York later that year and worked with Red Nichols' Five Pennies, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, Gene Kardos, and others. He starred on Eddie Condon's memorable 1933 recording "The Eel." After stints with Joe Haymes and Ray Noble, Freeman was a star with Tommy Dorsey's Orchestra and Clambake Seven (1936-1938) before having a short unhappy stint with Benny Goodman (1938). He led his short-lived but legendary Summe Cum Laude Orchestra (1939-1940) which was actually an octet, spent two years in the military, and then from 1945 on, alternated between being a bandleader and working with Eddie Condon's freewheeling Chicago jazz groups. Freeman traveled the world, made scores of fine recordings, and stuck to the same basic style that he had developed by the mid-'30s (untouched by a brief period spent studying with Lennie Tristano). Bud Freeman was with the World's Greatest Jazz Band (1968-1971), lived in London in the late '70s, and ended up back where he started, in Chicago. He was active into his eighties, and a strong sampling of his recordings are currently available on CD.
Source: All Music.com.
Tony Levin
A busy session career followed, with fluid, expressive work on classic LPs, including Lou Reed's Berlin, Kate & Anna McGarrigle's self-titled debut, and Paul Simon's Still Crazy After All These Years. After collaborating with Peter Gabriel on his eponymous 1977 debut, Levin joined the ex-Genesis frontman's touring unit, during which time he honed his skills on the Chapman Stick, a unique 10-stringed instrument in which the strings are not plucked but tapped, a process allowing the individual to play notes with both hands and create complete multi-part arrangements.
In 1978, Levin settled in Woodstock, NY, serving in the short-lived L'Image; a year later, he played on Robert Fripp's solo effort Exposure, soon thereafter agreeing to join the guitarist in new a incarnation of his groundbreaking progressive unit King Crimson, and remaining a member of the group for over two decades. (His tour experiences subsequently yielded a 1984 book of photographs, Road Photos.) While working on Gabriel's 1986 smash So, Levin developed Funk Fingers, essentially chopped-off drumsticks designed to hammer on the bass strings; he later sold Funk Fingers through his own Papa Bear Records label as well. Sessions with everyone from Robbie Robertson (his 1987 self-titled solo debut) to Laurie Anderson (1989's Strange Angels) to Yes (1991's Union) followed, and in 1996, Levin finally made his solo debut with World Diary. From the Caves of the Iron Mountain, recorded with bamboo flute master Steve Gorn and drummer Jerry Marotta, appeared a year later and in 1998, he formed Bruford Levin Upper Extremities (B.L.U.E.) with longtime King Crimson drummer Bill Bruford, guitarist David Torn, and trumpeter Chris Botti.
Waters of Eden, Levin's Narada label debut, followed in the spring of 2000. Pieces of the Sun was released in 2001 (an expanded edition came out a year later on Pony Canyon), with many of the same tracks also included on his 2002 record, Double Espresso. Prime Cuts, a compilation of his work on sessions led by other artists on the Magna Carta label during the '90s, was issued in 2005. A bona fide new solo effort, Resonator, followed the next year, for the first time featuring Levin as a singer/songwriter as well as a bassist.
Source: All Music.com.
Bill Brufford
During one of King Crimson leader Robert Fripp's several lineup-shifting hiatuses in Bruford's 1972-1997 tenure, the drummer formed his self-titled Earthworks band in 1986. On its 1987 Earthworks debut album, Bruford often used electric Simmons drums to contrast acoustic horn players Iain Ballamy and Django Bates and upright bassist Mick Hutton, achieving the opposite of the standard lineup where drums are the only acoustic instrument. Subsequent releases like 1989's Dig? and 1991's All Heaven Broke Loose continued this forward-thinking trend, blending acoustic and electric instrumentation and jazz ideology with classical undertones. But by 1993's live Stamping Ground, Bruford had replaced Hutton with electric/acoustic bassist Tim Harries and was using keyboard-pitched electric chordal drums, the combined result being a more muscular and fuller sound.
Bruford continued recording and touring with King Crimson through 1997, releasing the Earthworks compilation Heavenly Bodies just as he quit the venerable rock band with which he'd had his longest tenure. It would prove to be a transitional year, as Bruford recorded a jazz chamber trio solo CD called If Summer Had Its Ghosts with legendary jazz figures Ralph Towner (guitar/piano) and Eddie Gomez (acoustic bass). Between explorative electric recordings with bassist and fellow King Crimson alum Tony Levin, Bruford kept Earthworks closer to the chamber jazz mode on the 1999 CD A Part and Yet Apart. Likewise, the lineup of Bruford, saxophonist Patrick Clahar, pianist Steve Hamilton, and bassist Mark Hodgson started the new millennium with the 2001 CD The Sound of Surprise, an outstanding blend of jazz tradition and forward-thinking transition.
Source: All Music.com.
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