Fiel do Rock - A Brazilian blog talking about Corinthians, Tech, Blues, Rock'n'Roll and so on. Be my guest. Have fun and keep in touch!
7/31/2012
Muddy Waters - Hoochie Coochie Man
McKinley Morganfield "Muddy Waters", born April 4, 1915, in Rolling Fork, Mississippi, to a sharecropping family, Morganfield moved to the Stovall Plantation near Clarksdale to live with his grandmother after the death of his mother in 1918. As a toddler he acquired the nickname Muddy from his grandmother because he loved to play in the muddy water of nearby Deer Creek. At age seven, Morganfield began playing the harmonica and became proficient enough to play fish fries, picnics, and parties by age thirteen. His family attached "Waters" to his nickname when he began playing harmonica, and the name stuck. Waters first heard records by Blind Lemon Jefferson, Memphis Minnie, Lonnie Johnson, Tampa Red, and the Memphis Sheiks on a neighbor's Victrola. He bought his first guitar at age seventeen with his sharecropper's wages and taught himself to play.
Waters's early influences were local guitarists Charley Patton and Son House. One of the first blues tunes he learned was House's "Walkin' Blues." At age eighteen, Waters opened a juke joint where patrons could drink, gamble, eat fried fish, and listen to the jukebox. He played parties, juke joints, and suppers in the Clarksdale vicinity with guitarist Scott Bohannah or his own string band. Waters fell under the sway of Delta guitarist Robert Johnson, whom he saw on the front porch of Hirsberg's Drugstore in Friars Point and whose records he played on his jukebox. Helena-based bluesman Robert Nighthawk offered to bring Waters to Chicago with him on a recording trip during the late 1930s, but he refused the invitation, preferring to remain with his infirm grandmother. In 1940, Waters did venture to St. Louis, then a hotbed of blues, but disliked it and returned to Stovall Plantation.
On August 28, 1941, folklorists Alan Lomax and John Work recorded Waters and fiddler Henry "Son" Sims at Waters's juke joint. Impressed with Waters's ability, they returned in July of the following year for additional material. The sound of his voice emanating from the recording machine's playback convinced Waters he had commercial ability. He caught a train to Chicago in May 1943, found a job, and was soon playing rent parties in the city. A recording session for Columbia Records in 1946 went unreleased. Another for the 20th Century label resulted in the release of "Mean Red Spider," a B-side to James "Sweet Lucy" Carter's 1947 single. Waters next recorded for the fledgling Aristocrat label, owned by Leonard and Phil Chess, in 1947. His second Aristocrat release, "I Can't be Satisfied" backed with "Feel Like Going Home," quickly sold out several pressings, thereby making Waters a bona fide star and solidifying the foundation of the Chess record label.
"I Can't be Satisfied" incorporates all the elements that would make Muddy Waters famous. His strong, rich tenor, sung slightly behind the beat, had a drawl that appealed to southern-born black record buyers. Waters's dark, bass-laden slide guitar conjured shades of blue that stood in stark contrast to the jazzy, single-string guitarists such as T. Bone Walker who were then in vogue. He also became a noted bandleader whose groups became a spawning ground for later blues stars "Little" Walter Jacobs, Jimmy Rogers, Otis Spann, James Cotton, and Junior Wells.
Waters returned to the Delta in 1949 with a trio composed of Jacobs, Rogers, and himself. They based their activities in Helena, Arkansas, where they appeared daily on radio station KFFA, then broadcasting from the Floyd Truck Lines Building. KFFA was famous throughout the Delta as the home of King Biscuit Time, a noontime radio show that featured Sonny Boy Williamson and his guitarist/sidemen Robert Jr. Lockwood, Elmore James, and Joe Willie Wilkins. Waters's trio performed on the 6 a.m. slot and used the exposure to advertise their upcoming gigs at the Owl Café and across the Delta. In 1950, he returned to Chicago and resumed his recording career. He continued to record for Chess during the 1950s, churning out down-home hits like "Long Distance Call," "Louisiana Blues," and the Memphis Minnie derivative, "Honey Bee." Waters continued to tour the Deep South during the 1950s and 1960s, often with John Lee Hooker, but his home was now Chicago. In 1958, he toured England, opening the door for bluesmen to tour Europe. In 1960, Waters's band played the Newport Jazz Festival and won a large white following.
Muddy Waters died April 30, 1983, and is buried in Chicago.
7/28/2012
Muddy Waters - I Am The Blues
McKinley Morganfield "Muddy Waters", born April 4, 1915, in Rolling Fork, Mississippi, to a sharecropping family, Morganfield moved to the Stovall Plantation near Clarksdale to live with his grandmother after the death of his mother in 1918. As a toddler he acquired the nickname Muddy from his grandmother because he loved to play in the muddy water of nearby Deer Creek. At age seven, Morganfield began playing the harmonica and became proficient enough to play fish fries, picnics, and parties by age thirteen. His family attached "Waters" to his nickname when he began playing harmonica, and the name stuck. Waters first heard records by Blind Lemon Jefferson, Memphis Minnie, Lonnie Johnson, Tampa Red, and the Memphis Sheiks on a neighbor's Victrola. He bought his first guitar at age seventeen with his sharecropper's wages and taught himself to play.
Waters's early influences were local guitarists Charley Patton and Son House. One of the first blues tunes he learned was House's "Walkin' Blues." At age eighteen, Waters opened a juke joint where patrons could drink, gamble, eat fried fish, and listen to the jukebox. He played parties, juke joints, and suppers in the Clarksdale vicinity with guitarist Scott Bohannah or his own string band. Waters fell under the sway of Delta guitarist Robert Johnson, whom he saw on the front porch of Hirsberg's Drugstore in Friars Point and whose records he played on his jukebox. Helena-based bluesman Robert Nighthawk offered to bring Waters to Chicago with him on a recording trip during the late 1930s, but he refused the invitation, preferring to remain with his infirm grandmother. In 1940, Waters did venture to St. Louis, then a hotbed of blues, but disliked it and returned to Stovall Plantation.
On August 28, 1941, folklorists Alan Lomax and John Work recorded Waters and fiddler Henry "Son" Sims at Waters's juke joint. Impressed with Waters's ability, they returned in July of the following year for additional material. The sound of his voice emanating from the recording machine's playback convinced Waters he had commercial ability. He caught a train to Chicago in May 1943, found a job, and was soon playing rent parties in the city. A recording session for Columbia Records in 1946 went unreleased. Another for the 20th Century label resulted in the release of "Mean Red Spider," a B-side to James "Sweet Lucy" Carter's 1947 single. Waters next recorded for the fledgling Aristocrat label, owned by Leonard and Phil Chess, in 1947. His second Aristocrat release, "I Can't be Satisfied" backed with "Feel Like Going Home," quickly sold out several pressings, thereby making Waters a bona fide star and solidifying the foundation of the Chess record label.
"I Can't be Satisfied" incorporates all the elements that would make Muddy Waters famous. His strong, rich tenor, sung slightly behind the beat, had a drawl that appealed to southern-born black record buyers. Waters's dark, bass-laden slide guitar conjured shades of blue that stood in stark contrast to the jazzy, single-string guitarists such as T. Bone Walker who were then in vogue. He also became a noted bandleader whose groups became a spawning ground for later blues stars "Little" Walter Jacobs, Jimmy Rogers, Otis Spann, James Cotton, and Junior Wells.
Waters returned to the Delta in 1949 with a trio composed of Jacobs, Rogers, and himself. They based their activities in Helena, Arkansas, where they appeared daily on radio station KFFA, then broadcasting from the Floyd Truck Lines Building. KFFA was famous throughout the Delta as the home of King Biscuit Time, a noontime radio show that featured Sonny Boy Williamson and his guitarist/sidemen Robert Jr. Lockwood, Elmore James, and Joe Willie Wilkins. Waters's trio performed on the 6 a.m. slot and used the exposure to advertise their upcoming gigs at the Owl Café and across the Delta. In 1950, he returned to Chicago and resumed his recording career. He continued to record for Chess during the 1950s, churning out down-home hits like "Long Distance Call," "Louisiana Blues," and the Memphis Minnie derivative, "Honey Bee." Waters continued to tour the Deep South during the 1950s and 1960s, often with John Lee Hooker, but his home was now Chicago. In 1958, he toured England, opening the door for bluesmen to tour Europe. In 1960, Waters's band played the Newport Jazz Festival and won a large white following.
Muddy Waters died April 30, 1983, and is buried in Chicago.
7/26/2012
Louis Armstrong - King of the Zulus
Louis Armstrong was born in a poor section of New Orleans known as “the Battlefield” on August 4, 1901.
By the time of his death in 1971, the man known around the world as Satchmo was widely recognized as a founding father of jazz—a uniquely American art form. His influence, as an artist and cultural icon, is universal, unmatched, and very much alive today.
Louis Armstrong’s achievements are remarkable. During his career, he:
Through the years, Louis entertained millions, from heads of state and royalty to the kids on his stoop in Corona. Despite his fame, he remained a humble man and lived a simple life in a working-class neighborhood. To this day, everyone loves Louis Armstrong—just the mention of his name makes people smile.
By the time of his death in 1971, the man known around the world as Satchmo was widely recognized as a founding father of jazz—a uniquely American art form. His influence, as an artist and cultural icon, is universal, unmatched, and very much alive today.
Louis Armstrong’s achievements are remarkable. During his career, he:
- developed a way of playing jazz, as an instrumentalist and a vocalist, which has had an impact on all musicians to follow;
- recorded hit songs for five decades, and his music is still heard today on television and radio and in films;
- wrote two autobiographies, more than ten magazine articles, hundreds of pages of memoirs, and thousands of letters;
- appeared in more than thirty films (over twenty were full-length features) as a gifted actor with superb comic timing and an unabashed joy of life;
- composed dozens of songs that have become jazz standards;
- performed an average of 300 concerts each year, with his frequent tours to all parts of the world earning him the nickname “Ambassador Satch,” and became one of the first great celebrities of the twentieth century.
Through the years, Louis entertained millions, from heads of state and royalty to the kids on his stoop in Corona. Despite his fame, he remained a humble man and lived a simple life in a working-class neighborhood. To this day, everyone loves Louis Armstrong—just the mention of his name makes people smile.
7/24/2012
Big Bill Broonzy - Just a Dream
Despite years of research, the details of William Lee Conley Broonzy's birth date remain problematic. He may have been born on 26 June 1893 - the date of birth he often gave - or according to Bill's twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that. However, definitive research undertaken by Bob Reisman (see www.amazon.co.uk or www.amazon.com search book "I Feel So Good") has changed the picture.
Bill often regaled audiences with tales of his birth on 26 June 1893 and that of his twin sister Laney and of his father's response to being told he had twins to care for. He claimed to have served in the US Army in France from 1918 - 1919 and to have been invited by a record company to travel to the Delta following a major flood in 1927: Turns out, that a good deal of this was fiction at worst and faction at best.
Robert Reisman's impeccable research suggests a birth date for Bill of 26th June 1903 (and in Jefferson County, Arkansas, not Scott Mississippi as previously suggested). Laney was not a twin at all but four years older than Bill. (She was born in 1898).
Bill spoke and sang about experiences in the US army and of his return from France to Arkansas/Mississippi. It turns out though, that the reported army experience was Bill's factional description of an amalgam of the stories told by black soldiers returning from overseas. A trip Bill claimed to have made to Mississippi in 1927 to the flooding was similarly untrue, but was a factional account into which Bill inserted himself.
Broonzy is/was not even his real name. He was born into the world with the name Lee Conly (note spelling) Bradley; and so it goes on.
Bill's father Frank Broonzy (Bradley) and his mother, Mittie Belcher had both been born into slavery and Bill was one of seventeen children. His first instrument was a violin which he learned to play with some tuition from his uncle, his mother's brother, Jerry Belcher. Bob Reisman suggests that there is little evidence that Jerry Belcher existed.
In Arkansas, the young Bill (Lee) worked as a violinist in local churches at the same time as working as a farm hand. He also worked as a country fiddler and local parties and picnics around Scott Mississippi. Between 1912 and 1917, Bill (Lee) worked as an itinerant preacher in and around Pine Bluff. It is not known why he changed his name.
Later, he worked in clubs around Little Rock. In about 1924, Big Bill moved to Chicago Illinois, where as a fiddle player he played occasional gigs with Papa Charlie Jackson. During this time he learned to play guitar and subsequently accompanied many blues singers, both in live performance and on record. Bill made his first recordings in 1927 (just named Big Bill) and the 1930 census records him as living in Chicago and (working as a labourer in a foundry) and his name was recorded as 'Willie Lee Broonsey' aged 28. He was living with his wife Annie (25) and his son Ellis (6).
Over the years, Big Bill became an accomplished performer in his own right. Through the 1930s he was a significant mover in founding the small group blues (singer, guitar, piano, bass drums) sound that typified Chicago bues.
On 23 December, 1938, Big Bill was one of the principal solo performers in the first "From Spirituals to Swing" concert held at the Carnegie Hall in New York City. In the programme for that performance, Broonzy was identified in the programme only as "Big Bill" (he did not become known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as:
"...the best-selling blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."
The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience".
Big Bill was a stand-in for Robert Johnson, who had been murdered in Mississippi in August that year. Hammond heard about Johnson's death just a week before the concert was due to take place. According to John Sebastian (1939) Big Bill bought a new pair of shoes and travelled to New York by bus for the concert. Where he travelled from is, however, left dangling. The inference of the text is that it was from Arkansas, but as noted above, by by late 1938 Bill was established as a session man and band leader, and as a solo performer in Chicago. Within weeks of the 1938 concert Bill was recording with small groups in a studio in the windy city.
In the 1938 programme, Big Bill performed (accompanied by boogie pianist Albert Ammons) "It Was Just a Dream" which had the audience rocking with laughter at the lines,
"Dreamed I was in the White House, sittin' in the president's chair.
I dreamed he's shaking my hand, said "Bill, I'm glad you're here".
But that was just a dream. What a dream I had on my mind.
And when I woke up, not a chair could I find"
7/22/2012
Howlin' Wolf - Meet Me In The Bottom
Chester Arthur Burnett, "Howlin' Wolf", born June 10, 1910, in West Point, Mississippi, Chester Arthur was one of Dock and Gertrude Burnett's six children. Burnett refined his singing at Life Board Baptist Church in Aberdeen as a lad. At the age of thirteen, he moved with his family to sharecrop on the Young and Myers Plantation near Ruleville. Burnett learned to play the guitar as a teen, influenced by guitarists Charley Patton and Willie Brown, who played on the square in nearby Drew. Burnett moved to the Dockery Plantation in 1929, both to work and to be around Patton.
Between 1928 and 1933, Burnett augmented his sharecropping income playing fish fries, dances, and the streets of Drew, Cleveland, and Ruleville, Mississippi. He adopted the stage name "Howlin' Wolf" during the 1930s, possibly from a record by Texas bluesman J. T. "Funny Paper" Smith. In 1933, Wolf moved to Twist, Arkansas, to farm, occasionally playing on the road with Robert Johnson, Texas Alexander, and brother-in-law Sonny Boy Williamson. Williamson also taught him the rudiments of harmonica, though not to Sonny Boy's own level of expertise. During the late 1930s Wolf often ventured to Memphis, playing local juke joints off Beale Street or in W. C. Handy Park for tips.
Wolf entered the U.S. Army in 1941, often entertaining troops during his hitch. After being mustered out in 1945, he returned to farming in the Delta. During the 1940s Wolf received his first radio work at KFFA, broadcasting King Biscuit Time from the Floyd Truck Lines Building in Helena, Arkansas. Joe Willie Wilkins contacted Wolf while the latter was in Moorehead and offered him work on King Biscuit Time playing harmonica when Williamson was away. In 1948, Wolf moved to West Memphis, Arkansas, where he landed a job as a DJ for radio station KWEM. Adapting to new technologies in electrical amplification, he assembled a crackerjack band featuring Willie Johnson on guitar, Bill "Destruction" Johnson on piano, and Willie Steel on drums. Sam Phillips, a white recording engineer in Memphis, heard Wolf's show and immediately arranged a recording session for the band at his 706 Union Avenue studio.
The session yielded the songs "Moanin' at Midnight" and "How Many More Years," which were leased to Chess Records and released as a single. On record, Wolf's huge, ferocious voice sounded as if it were torn from the back of his throat. His high-pressure moaning punctuated by a wolfish howl sounded like an amped-up Tommy Johnson. Wolf's harmonica playing held the melody while Willie Johnson played slashing guitar riffs and Willie Steel pounded the drums ferociously. The single soon entered Billboard's R&B Top 10, rising to number eight.
Wolf moved to Chicago in 1952 to be closer to the Chess studio but he continued to record Delta blues including "I Asked for Water" (a version of Tommy Johnson's "Cool Drink of Water Blues") and the Mississippi Sheiks' "Sitting on Top of the World." He continued to tour the South, and eventually became a successful international draw.
Howlin' Wolf died January 10, 1976, in Hines, Illinois. He is buried in Chicago.
7/20/2012
Mississippi John Hurt - You Are My Sunshine
"You Are My Sunshine" is a popular song first recorded in 1939. It has been declared one of the state songs of Louisiana as a result of its association with former state governor and country music singer Jimmie Davis. The song is copyright 1940 Peer International Corporation, words and music by Jimmie Davis and Charles Mitchell. According to a 1990 article by Theodore Pappas, the original song was written by Oliver Hood.
"Mississippi" John Hurt
Born July 3, 1893, in Teoc, Mississippi, Hurt and his family moved in 1895 to Avalon, a town on the edge of Mississippi's hill country. He dropped out of school at the age of nine to begin working as a farmer. In 1902, Hurt picked up the guitar, a $1.50 "Black Annie" his mother bought him. Self-taught, Hurt developed a distinctive three-finger style that bears no resemblance to other area musicians. He also developed proficiency with the harmonica but was always a self-accompanied musician. Unlike Furry Lewis and Memphis Minnie, Hurt refused an offer to accompany a traveling medicine show, preferring to stay close to home.
Hurt played solo at local parties where his fluid yet highly syncopated guitar style made him a favorite among Carroll County dancers. His fame was localized, however; it was not until 1912 that he started playing parties around Jackson, Mississippi, 103 miles from his native Avalon. While Hurt worked mostly outside music as a farmer and laborer, his musical reputation among whites as well as blacks led to his first recording session in Memphis in 1928. Willie T. Narmour and Shell W. Smith, two white country musicians from Carroll County, recommended him to their record producer, Tommy Rockwell.
Hurt recorded eight sides for the Okeh label, two of which were released and sold well: "Frankie" and "Nobody's Dirty Business." In Memphis for the same recording session was St. Louis guitarist/pianist Lonnie Johnson, and Hurt later recalled that Blind Lemon Jefferson and Bessie Smith were also in town. He saw none of these famous musicians play but instead returned home to Avalon. Okeh called Hurt to New York City for another session in December 1928, where he cut twelve additional sides, including "Avalon Blues." Again, Hurt returned home to Avalon to farm and play music for local parties.
These two sessions were the extent of Hurt's recording before the Great Depression curtailed record sales. His graceful picking, gentle crooning, and homespun lyrics marked him as an exceptionally talented musician. The preponderance of songs about legendary figures in his repertoire ("Casey Jones," "Frankie," "Stack O'Lee Blues") and the lack of then-modern blues influences on his style, establish Hurt as a link between the nineteenth and twentieth centuries. Okeh originally designated two of his songs "Old Time Music," an appellation reserved for the label's hillbilly series. This, together with the fact that white musicians were familiar with and recommended his musicianship, suggests strongly that Hurt's music sprang from a common source that produced blues and country music.
Hurt lived a quiet life as a farmer and laborer, playing occasional parties and fish fries until 1963. He was rediscovered in Avalon, a consequence of having named it as his hometown in a record made thirty-five years before. Hurt enjoyed great popularity during the blues revival of the 1960s, making television appearances, playing folk festivals, and recording albums. Exceptionally well liked by all who came in contact with him, he became the most famous of all the rediscovered 1920s bluesmen, eclipsing in his fame the celebrated Son House and Skip James.
His newfound fame lasted three years before his death on November 2, 1966. Mississippi John Hurt's grave is located outside his hometown of Avalon, Mississippi.
"Mississippi" John Hurt
Born July 3, 1893, in Teoc, Mississippi, Hurt and his family moved in 1895 to Avalon, a town on the edge of Mississippi's hill country. He dropped out of school at the age of nine to begin working as a farmer. In 1902, Hurt picked up the guitar, a $1.50 "Black Annie" his mother bought him. Self-taught, Hurt developed a distinctive three-finger style that bears no resemblance to other area musicians. He also developed proficiency with the harmonica but was always a self-accompanied musician. Unlike Furry Lewis and Memphis Minnie, Hurt refused an offer to accompany a traveling medicine show, preferring to stay close to home.
Hurt played solo at local parties where his fluid yet highly syncopated guitar style made him a favorite among Carroll County dancers. His fame was localized, however; it was not until 1912 that he started playing parties around Jackson, Mississippi, 103 miles from his native Avalon. While Hurt worked mostly outside music as a farmer and laborer, his musical reputation among whites as well as blacks led to his first recording session in Memphis in 1928. Willie T. Narmour and Shell W. Smith, two white country musicians from Carroll County, recommended him to their record producer, Tommy Rockwell.
Hurt recorded eight sides for the Okeh label, two of which were released and sold well: "Frankie" and "Nobody's Dirty Business." In Memphis for the same recording session was St. Louis guitarist/pianist Lonnie Johnson, and Hurt later recalled that Blind Lemon Jefferson and Bessie Smith were also in town. He saw none of these famous musicians play but instead returned home to Avalon. Okeh called Hurt to New York City for another session in December 1928, where he cut twelve additional sides, including "Avalon Blues." Again, Hurt returned home to Avalon to farm and play music for local parties.
These two sessions were the extent of Hurt's recording before the Great Depression curtailed record sales. His graceful picking, gentle crooning, and homespun lyrics marked him as an exceptionally talented musician. The preponderance of songs about legendary figures in his repertoire ("Casey Jones," "Frankie," "Stack O'Lee Blues") and the lack of then-modern blues influences on his style, establish Hurt as a link between the nineteenth and twentieth centuries. Okeh originally designated two of his songs "Old Time Music," an appellation reserved for the label's hillbilly series. This, together with the fact that white musicians were familiar with and recommended his musicianship, suggests strongly that Hurt's music sprang from a common source that produced blues and country music.
Hurt lived a quiet life as a farmer and laborer, playing occasional parties and fish fries until 1963. He was rediscovered in Avalon, a consequence of having named it as his hometown in a record made thirty-five years before. Hurt enjoyed great popularity during the blues revival of the 1960s, making television appearances, playing folk festivals, and recording albums. Exceptionally well liked by all who came in contact with him, he became the most famous of all the rediscovered 1920s bluesmen, eclipsing in his fame the celebrated Son House and Skip James.
His newfound fame lasted three years before his death on November 2, 1966. Mississippi John Hurt's grave is located outside his hometown of Avalon, Mississippi.
7/19/2012
Howlin' Wolf - Shake It For Me
Chester Arthur Burnett, "Howlin' Wolf", born June 10, 1910, in West Point, Mississippi, Chester Arthur was one of Dock and Gertrude Burnett's six children. Burnett refined his singing at Life Board Baptist Church in Aberdeen as a lad. At the age of thirteen, he moved with his family to sharecrop on the Young and Myers Plantation near Ruleville. Burnett learned to play the guitar as a teen, influenced by guitarists Charley Patton and Willie Brown, who played on the square in nearby Drew. Burnett moved to the Dockery Plantation in 1929, both to work and to be around Patton.
Between 1928 and 1933, Burnett augmented his sharecropping income playing fish fries, dances, and the streets of Drew, Cleveland, and Ruleville, Mississippi. He adopted the stage name "Howlin' Wolf" during the 1930s, possibly from a record by Texas bluesman J. T. "Funny Paper" Smith. In 1933, Wolf moved to Twist, Arkansas, to farm, occasionally playing on the road with Robert Johnson, Texas Alexander, and brother-in-law Sonny Boy Williamson. Williamson also taught him the rudiments of harmonica, though not to Sonny Boy's own level of expertise. During the late 1930s Wolf often ventured to Memphis, playing local juke joints off Beale Street or in W. C. Handy Park for tips.
Wolf entered the U.S. Army in 1941, often entertaining troops during his hitch. After being mustered out in 1945, he returned to farming in the Delta. During the 1940s Wolf received his first radio work at KFFA, broadcasting King Biscuit Time from the Floyd Truck Lines Building in Helena, Arkansas. Joe Willie Wilkins contacted Wolf while the latter was in Moorehead and offered him work on King Biscuit Time playing harmonica when Williamson was away. In 1948, Wolf moved to West Memphis, Arkansas, where he landed a job as a DJ for radio station KWEM. Adapting to new technologies in electrical amplification, he assembled a crackerjack band featuring Willie Johnson on guitar, Bill "Destruction" Johnson on piano, and Willie Steel on drums. Sam Phillips, a white recording engineer in Memphis, heard Wolf's show and immediately arranged a recording session for the band at his 706 Union Avenue studio.
The session yielded the songs "Moanin' at Midnight" and "How Many More Years," which were leased to Chess Records and released as a single. On record, Wolf's huge, ferocious voice sounded as if it were torn from the back of his throat. His high-pressure moaning punctuated by a wolfish howl sounded like an amped-up Tommy Johnson. Wolf's harmonica playing held the melody while Willie Johnson played slashing guitar riffs and Willie Steel pounded the drums ferociously. The single soon entered Billboard's R&B Top 10, rising to number eight.
Wolf moved to Chicago in 1952 to be closer to the Chess studio but he continued to record Delta blues including "I Asked for Water" (a version of Tommy Johnson's "Cool Drink of Water Blues") and the Mississippi Sheiks' "Sitting on Top of the World." He continued to tour the South, and eventually became a successful international draw.
Howlin' Wolf died January 10, 1976, in Hines, Illinois. He is buried in Chicago.
7/17/2012
Howlin' Wolf - How Many More Years
Chester Arthur Burnett, "Howlin' Wolf", born June 10, 1910, in West Point, Mississippi, Chester Arthur was one of Dock and Gertrude Burnett's six children. Burnett refined his singing at Life Board Baptist Church in Aberdeen as a lad. At the age of thirteen, he moved with his family to sharecrop on the Young and Myers Plantation near Ruleville. Burnett learned to play the guitar as a teen, influenced by guitarists Charley Patton and Willie Brown, who played on the square in nearby Drew. Burnett moved to the Dockery Plantation in 1929, both to work and to be around Patton.
Between 1928 and 1933, Burnett augmented his sharecropping income playing fish fries, dances, and the streets of Drew, Cleveland, and Ruleville, Mississippi. He adopted the stage name "Howlin' Wolf" during the 1930s, possibly from a record by Texas bluesman J. T. "Funny Paper" Smith. In 1933, Wolf moved to Twist, Arkansas, to farm, occasionally playing on the road with Robert Johnson, Texas Alexander, and brother-in-law Sonny Boy Williamson. Williamson also taught him the rudiments of harmonica, though not to Sonny Boy's own level of expertise. During the late 1930s Wolf often ventured to Memphis, playing local juke joints off Beale Street or in W. C. Handy Park for tips.
Wolf entered the U.S. Army in 1941, often entertaining troops during his hitch. After being mustered out in 1945, he returned to farming in the Delta. During the 1940s Wolf received his first radio work at KFFA, broadcasting King Biscuit Time from the Floyd Truck Lines Building in Helena, Arkansas. Joe Willie Wilkins contacted Wolf while the latter was in Moorehead and offered him work on King Biscuit Time playing harmonica when Williamson was away. In 1948, Wolf moved to West Memphis, Arkansas, where he landed a job as a DJ for radio station KWEM. Adapting to new technologies in electrical amplification, he assembled a crackerjack band featuring Willie Johnson on guitar, Bill "Destruction" Johnson on piano, and Willie Steel on drums. Sam Phillips, a white recording engineer in Memphis, heard Wolf's show and immediately arranged a recording session for the band at his 706 Union Avenue studio.
The session yielded the songs "Moanin' at Midnight" and "How Many More Years," which were leased to Chess Records and released as a single. On record, Wolf's huge, ferocious voice sounded as if it were torn from the back of his throat. His high-pressure moaning punctuated by a wolfish howl sounded like an amped-up Tommy Johnson. Wolf's harmonica playing held the melody while Willie Johnson played slashing guitar riffs and Willie Steel pounded the drums ferociously. The single soon entered Billboard's R&B Top 10, rising to number eight.
Wolf moved to Chicago in 1952 to be closer to the Chess studio but he continued to record Delta blues including "I Asked for Water" (a version of Tommy Johnson's "Cool Drink of Water Blues") and the Mississippi Sheiks' "Sitting on Top of the World." He continued to tour the South, and eventually became a successful international draw.
Howlin' Wolf died January 10, 1976, in Hines, Illinois. He is buried in Chicago.
7/16/2012
Jon Lord
From Jon Lord Official Page
It is with deep sadness we announce the passing of Jon Lord, who suffered a fatal pulmonary embolism today, Monday 16th July at the London Clinic, after a long battle with pancreatic cancer. Jon was surrounded by his loving family.
Jon Lord, the legendary keyboard player with Deep Purple co-wrote many of the bands legendary songs including Smoke On The Water and played with many bands and musicians throughout his career.
Best known for his Orchestral work Concerto for Group & Orchestra first performed at Royal Albert Hall with Deep Purple and the Royal Philharmonic Orchestra in 1969 and conducted by the renowned Malcolm Arnold, a feat repeated in 1999 when it was again performed at the Royal Albert Hall by the London Symphony Orchestra and Deep Purple.
Jon’s solo work was universally acclaimed when he eventually retired from Deep Purple in 2002.
Jon passes from Darkness to Light.
Jon Lord 9 June 1941 – 16 July 2012.
From Rick Wakeman Official Page
I first became aware of Jon Lord in the mid-sixties when Hush was released and I bought the album Shades of Deep Purple which was an album way ahead of its time. For obvious reasons I paid special attention to the organ style and sound as it was quite different from how other Hammond players were using the instrument. I became a genuine admirer and fan of Jon that day and remained so with everything he did
We became real friends just a few years ago although we had met on numerous occasions prior to that. We did talks together at music conservatories, we met for lunch and most importantly made music together. We wrote a piece 12 months ago for the Sunflower Jam at the Royal Albert Hall. We wrote this piece together at John Henry's rehearsal studios in London and it was so easy because we had such different styles and because Jon was concentrating heavily on the Hammond and I on synthesizers, the blend was quite magical. The piece was performed just the once and I am told was filmed. although I have never seen the footage.
We sat in the dressing room which we shared at the Royal Albert Hall and made plans to do an album together. We were both utterly convinced that we could come up with something very special as our styles blended so well together. Our love of classical music and also working that style within that of rock music also completed the bond . We arranged to meet up later that month
One week before we were due to meet Jon called me with the news he was ill. He was very positive and actually said he'd never felt better in his life and so he would beat it however long it took and so to bear with our project which went on hold.
We spoke a couple of times after that and the last message I got was that he was responding well to his treatment. The news today has hurt me like no other loss of a musician I have known. I can only thank him for the legacy he has left us all with his great music, great vision and for his kindness as he was one of the most gentle and kind persons I have ever had the pleasure of being able to call my friend. My heart goes out to Vicki his wife and all his family.
Rick Wakeman
16th July 2012
It is with deep sadness we announce the passing of Jon Lord, who suffered a fatal pulmonary embolism today, Monday 16th July at the London Clinic, after a long battle with pancreatic cancer. Jon was surrounded by his loving family.
Jon Lord, the legendary keyboard player with Deep Purple co-wrote many of the bands legendary songs including Smoke On The Water and played with many bands and musicians throughout his career.
Best known for his Orchestral work Concerto for Group & Orchestra first performed at Royal Albert Hall with Deep Purple and the Royal Philharmonic Orchestra in 1969 and conducted by the renowned Malcolm Arnold, a feat repeated in 1999 when it was again performed at the Royal Albert Hall by the London Symphony Orchestra and Deep Purple.
Jon’s solo work was universally acclaimed when he eventually retired from Deep Purple in 2002.
Jon passes from Darkness to Light.
Jon Lord 9 June 1941 – 16 July 2012.
From Rick Wakeman Official Page
I first became aware of Jon Lord in the mid-sixties when Hush was released and I bought the album Shades of Deep Purple which was an album way ahead of its time. For obvious reasons I paid special attention to the organ style and sound as it was quite different from how other Hammond players were using the instrument. I became a genuine admirer and fan of Jon that day and remained so with everything he did
We became real friends just a few years ago although we had met on numerous occasions prior to that. We did talks together at music conservatories, we met for lunch and most importantly made music together. We wrote a piece 12 months ago for the Sunflower Jam at the Royal Albert Hall. We wrote this piece together at John Henry's rehearsal studios in London and it was so easy because we had such different styles and because Jon was concentrating heavily on the Hammond and I on synthesizers, the blend was quite magical. The piece was performed just the once and I am told was filmed. although I have never seen the footage.
We sat in the dressing room which we shared at the Royal Albert Hall and made plans to do an album together. We were both utterly convinced that we could come up with something very special as our styles blended so well together. Our love of classical music and also working that style within that of rock music also completed the bond . We arranged to meet up later that month
One week before we were due to meet Jon called me with the news he was ill. He was very positive and actually said he'd never felt better in his life and so he would beat it however long it took and so to bear with our project which went on hold.
We spoke a couple of times after that and the last message I got was that he was responding well to his treatment. The news today has hurt me like no other loss of a musician I have known. I can only thank him for the legacy he has left us all with his great music, great vision and for his kindness as he was one of the most gentle and kind persons I have ever had the pleasure of being able to call my friend. My heart goes out to Vicki his wife and all his family.
Rick Wakeman
16th July 2012
Big Data, Big Impact: New Possibilities for International Development
A flood of data is created every day by the interactions of billions of people using computers, GPS devices, cell phones, and medical devices. Many of these interactions occur through the use of mobile devices being used by people in the developing world, people whose needs and habits have been poorly understood until now.
Researchers and policymakers are beginning to realise the potential for channelling these torrents of data into actionable information that can be used to identify needs, provide services, and predict and prevent crises for the benefit of low-income populations. Concerted action is needed by governments, development organisations, and companies to ensure that this data helps the individuals and communities who create it.
Click here to download the full version of this document.
Son House - Pearline
Born near Lyon, Mississippi, March 21, 1902, Son House (Eddie James House Jr) chopped cotton as a teenager while developing a passion for the Baptist church. He delivered his first sermon at the age of fifteen and within five years was the pastor of a small country church south of Lyon. His fall from the church was a result of an affair with a woman ten years his senior, whom he followed home to Louisiana. By 1926, House had returned to the Lyon area and began playing guitar under the tutelage of an obscure local musician named James McCoy. He developed quickly as a guitarist; within a year he had fallen in with Delta musician Rube Lacy and began emulating his slide guitar style. House shot and killed a man during a house party near Lyon in 1928. He was sentenced to work on Parchman Farm, but was released within two years after a judge in Clarksdale re-examined the case. Having been advised by the judge to leave the Clarksdale vicinity, House relocated to Lula and there met bluesman Charley Patton while playing at the Lula railroad depot for tips.
Patton befriended House, who began working as a musician around the Kirby Plantation. In 1930, Patton brought him, guitarist Willie Brown, and pianist Louise Johnson to Grafton, Wisconsin, for a recording session with Paramount Records. House's influence on the Delta School of musicians can be judged from a handful of recordings made in Grafton. His song "Preachin' The Blues Part I & II" was a six-minute biography of his life and served as inspiration for Robert Johnson's "Preaching Blues" and "Walking Blues." House's powerful vocals and slashing slide guitar style established him as a giant of the Delta School but did not lead to commercial success. House continued playing with Willie Brown during the 1930s and developed a relationship with a young Robert Johnson after moving to Robinsonville, Mississippi. After Johnson had learned to play guitar, he began to gig with House and Brown, learning the older musicians' licks.
House, Willie Brown, Fiddlin' Joe Martin, and Leroy Williams were recorded by folklorist Alan Lomax near Lake Cormorant, Mississippi, in 1941 for the Library of Congress. Lomax returned the next year to record House in Robinsonville, but the musician did not make another commercial record until the "blues revival" of the 1960s. His influence, however, would be felt through the recordings of Johnson, Muddy Waters, Howlin' Wolf, Elmore James, Robert Nighthawk, and other successful blues artists.
Son House died October 19, 1988.
7/15/2012
Son House - Grinnin' in Your Face
Born near Lyon, Mississippi, March 21, 1902, Son House (Eddie James House Jr) chopped cotton as a teenager while developing a passion for the Baptist church. He delivered his first sermon at the age of fifteen and within five years was the pastor of a small country church south of Lyon. His fall from the church was a result of an affair with a woman ten years his senior, whom he followed home to Louisiana. By 1926, House had returned to the Lyon area and began playing guitar under the tutelage of an obscure local musician named James McCoy. He developed quickly as a guitarist; within a year he had fallen in with Delta musician Rube Lacy and began emulating his slide guitar style. House shot and killed a man during a house party near Lyon in 1928. He was sentenced to work on Parchman Farm, but was released within two years after a judge in Clarksdale re-examined the case. Having been advised by the judge to leave the Clarksdale vicinity, House relocated to Lula and there met bluesman Charley Patton while playing at the Lula railroad depot for tips.
Patton befriended House, who began working as a musician around the Kirby Plantation. In 1930, Patton brought him, guitarist Willie Brown, and pianist Louise Johnson to Grafton, Wisconsin, for a recording session with Paramount Records. House's influence on the Delta School of musicians can be judged from a handful of recordings made in Grafton. His song "Preachin' The Blues Part I & II" was a six-minute biography of his life and served as inspiration for Robert Johnson's "Preaching Blues" and "Walking Blues." House's powerful vocals and slashing slide guitar style established him as a giant of the Delta School but did not lead to commercial success. House continued playing with Willie Brown during the 1930s and developed a relationship with a young Robert Johnson after moving to Robinsonville, Mississippi. After Johnson had learned to play guitar, he began to gig with House and Brown, learning the older musicians' licks.
House, Willie Brown, Fiddlin' Joe Martin, and Leroy Williams were recorded by folklorist Alan Lomax near Lake Cormorant, Mississippi, in 1941 for the Library of Congress. Lomax returned the next year to record House in Robinsonville, but the musician did not make another commercial record until the "blues revival" of the 1960s. His influence, however, would be felt through the recordings of Johnson, Muddy Waters, Howlin' Wolf, Elmore James, Robert Nighthawk, and other successful blues artists.
Son House died October 19, 1988.
7/14/2012
Big Bill Broonzy - Black Water Blues
Despite years of research, the details of William Lee Conley Broonzy's birth date remain problematic. He may have been born on 26 June 1893 - the date of birth he often gave - or according to Bill's twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that. However, definitive research undertaken by Bob Reisman (see www.amazon.co.uk or www.amazon.com search book "I Feel So Good") has changed the picture.
Bill often regaled audiences with tales of his birth on 26 June 1893 and that of his twin sister Laney and of his father's response to being told he had twins to care for. He claimed to have served in the US Army in France from 1918 - 1919 and to have been invited by a record company to travel to the Delta following a major flood in 1927: Turns out, that a good deal of this was fiction at worst and faction at best.
Robert Reisman's impeccable research suggests a birth date for Bill of 26th June 1903 (and in Jefferson County, Arkansas, not Scott Mississippi as previously suggested). Laney was not a twin at all but four years older than Bill. (She was born in 1898).
Bill spoke and sang about experiences in the US army and of his return from France to Arkansas/Mississippi. It turns out though, that the reported army experience was Bill's factional description of an amalgam of the stories told by black soldiers returning from overseas. A trip Bill claimed to have made to Mississippi in 1927 to the flooding was similarly untrue, but was a factional account into which Bill inserted himself.
Broonzy is/was not even his real name. He was born into the world with the name Lee Conly (note spelling) Bradley; and so it goes on.
Bill's father Frank Broonzy (Bradley) and his mother, Mittie Belcher had both been born into slavery and Bill was one of seventeen children. His first instrument was a violin which he learned to play with some tuition from his uncle, his mother's brother, Jerry Belcher. Bob Reisman suggests that there is little evidence that Jerry Belcher existed.
In Arkansas, the young Bill (Lee) worked as a violinist in local churches at the same time as working as a farm hand. He also worked as a country fiddler and local parties and picnics around Scott Mississippi. Between 1912 and 1917, Bill (Lee) worked as an itinerant preacher in and around Pine Bluff. It is not known why he changed his name.
Later, he worked in clubs around Little Rock. In about 1924, Big Bill moved to Chicago Illinois, where as a fiddle player he played occasional gigs with Papa Charlie Jackson. During this time he learned to play guitar and subsequently accompanied many blues singers, both in live performance and on record. Bill made his first recordings in 1927 (just named Big Bill) and the 1930 census records him as living in Chicago and (working as a labourer in a foundry) and his name was recorded as 'Willie Lee Broonsey' aged 28. He was living with his wife Annie (25) and his son Ellis (6).
Over the years, Big Bill became an accomplished performer in his own right. Through the 1930s he was a significant mover in founding the small group blues (singer, guitar, piano, bass drums) sound that typified Chicago bues.
On 23 December, 1938, Big Bill was one of the principal solo performers in the first "From Spirituals to Swing" concert held at the Carnegie Hall in New York City. In the programme for that performance, Broonzy was identified in the programme only as "Big Bill" (he did not become known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as:
"...the best-selling blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."
The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience".
Big Bill was a stand-in for Robert Johnson, who had been murdered in Mississippi in August that year. Hammond heard about Johnson's death just a week before the concert was due to take place. According to John Sebastian (1939) Big Bill bought a new pair of shoes and travelled to New York by bus for the concert. Where he travelled from is, however, left dangling. The inference of the text is that it was from Arkansas, but as noted above, by by late 1938 Bill was established as a session man and band leader, and as a solo performer in Chicago. Within weeks of the 1938 concert Bill was recording with small groups in a studio in the windy city.
In the 1938 programme, Big Bill performed (accompanied by boogie pianist Albert Ammons) "It Was Just a Dream" which had the audience rocking with laughter at the lines,
"Dreamed I was in the White House, sittin' in the president's chair.
I dreamed he's shaking my hand, said "Bill, I'm glad you're here".
But that was just a dream. What a dream I had on my mind.
And when I woke up, not a chair could I find"
7/13/2012
Dia Mundial do Rock - 13/07/2012
Rock Around the Clock is a 12-bar-blues-based song written by Max C. Freedman and James E. Myers (the latter under the pseudonym "Jimmy De Knight") in 1952. The best-known and most successful rendition was recorded by Bill Haley and His Comets in 1954. It was a number one single on both the US and UK charts and also re-entered the UK Singles Chart in the 1960s and 1970s.
7/11/2012
SANTA JULIA MALBEC
Vinhos que experimentei quando vivi na Argentina.
Este era o vinho de casa. O vinho de todos os dias à noite. Após o trabalho. Antes de dormir. Com o almoço ou com o jantar. Foram MUITAS garrafas deste agradável vinho. E para minha sorte, econtro facilmente aqui no Brasil e tenho seguido a rotina.
SANTA JULIA MALBEC 2010
COMPOSICION VARIETAL: 100% Malbec.
ORIGEN: Maipú / Santa Rosa, Mendoza, Argentina
COSECHA: Cosecha manual
VINIFICACIÓN: Vinificación clásica, con siembra de levaduras seleccionadas y una maceración de 10 días.
ALCOHOL: 13 % vol.
ACIDEZ TOTAL: 5.60 g/l
AZUCAR RESIDUAL: 2.50 g/l
Notas de Cata
COLOR: Rojo violáceo de buena intensidad.
AROMA: En aroma encontramos frutas rojas maduras como moras, ciruelas, pasas de uva y mermelada.
SABOR: Suave, con buen balance, taninos suaves, con personalidad y carácter varietal bien definidos.
Final persistente.
Este era o vinho de casa. O vinho de todos os dias à noite. Após o trabalho. Antes de dormir. Com o almoço ou com o jantar. Foram MUITAS garrafas deste agradável vinho. E para minha sorte, econtro facilmente aqui no Brasil e tenho seguido a rotina.
SANTA JULIA MALBEC 2010
COMPOSICION VARIETAL: 100% Malbec.
ORIGEN: Maipú / Santa Rosa, Mendoza, Argentina
COSECHA: Cosecha manual
VINIFICACIÓN: Vinificación clásica, con siembra de levaduras seleccionadas y una maceración de 10 días.
ALCOHOL: 13 % vol.
ACIDEZ TOTAL: 5.60 g/l
AZUCAR RESIDUAL: 2.50 g/l
Notas de Cata
COLOR: Rojo violáceo de buena intensidad.
AROMA: En aroma encontramos frutas rojas maduras como moras, ciruelas, pasas de uva y mermelada.
SABOR: Suave, con buen balance, taninos suaves, con personalidad y carácter varietal bien definidos.
Final persistente.
7/08/2012
TRUMPETER MALBEC 2009
Vinhos que experimentei quando vivi na Argentina.
A lembrança deste clássico foi de um excelente happy hour com o amigo Alexei. Visita mais do que especial.
Comentarios:
Variedad: 100% Malbec.
Viñedo: Tupungato.
Fermentación maloláctica: 100%.
Crianza: 7 meses.
Roble: 30% americano nuevo, 30% francés nuevo y 40% americano de 2do. y 3er. uso.
Alcohol: 13%.
Notas de cata: rojo violáceo brillante, seduce con sus aromas frutales (cerezas) y especiados (canela, cardamomo, pimienta negra). Posee gran cuerpo y su vivaz estructura acentúa los taninos intensos que se vuelven aterciopelados en el retrogusto.
Maridaje: asado, platos de cordero, empanadas, pescado de río.
A lembrança deste clássico foi de um excelente happy hour com o amigo Alexei. Visita mais do que especial.
Comentarios:
Variedad: 100% Malbec.
Viñedo: Tupungato.
Fermentación maloláctica: 100%.
Crianza: 7 meses.
Roble: 30% americano nuevo, 30% francés nuevo y 40% americano de 2do. y 3er. uso.
Alcohol: 13%.
Notas de cata: rojo violáceo brillante, seduce con sus aromas frutales (cerezas) y especiados (canela, cardamomo, pimienta negra). Posee gran cuerpo y su vivaz estructura acentúa los taninos intensos que se vuelven aterciopelados en el retrogusto.
Maridaje: asado, platos de cordero, empanadas, pescado de río.
Stevie Ray Vaughan - Little Wing
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Buddy Guy, and Albert Collins and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as jazz guitarists like Kenny Burrell and Wes Montgomery, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. From 1983 to 1990 Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 at age 35 cut short a brilliant career in blues and American rock & roll just as he was on the brink of superstardom.
7/07/2012
Stevie Ray Vaughan - Pride And Joy
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Buddy Guy, and Albert Collins and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as jazz guitarists like Kenny Burrell and Wes Montgomery, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. From 1983 to 1990 Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 at age 35 cut short a brilliant career in blues and American rock & roll just as he was on the brink of superstardom.
7/06/2012
Mississippi John Hurt - Frankie
"Mississippi" John Hurt
Born July 3, 1893, in Teoc, Mississippi, Hurt and his family moved in 1895 to Avalon, a town on the edge of Mississippi's hill country. He dropped out of school at the age of nine to begin working as a farmer. In 1902, Hurt picked up the guitar, a $1.50 "Black Annie" his mother bought him. Self-taught, Hurt developed a distinctive three-finger style that bears no resemblance to other area musicians. He also developed proficiency with the harmonica but was always a self-accompanied musician. Unlike Furry Lewis and Memphis Minnie, Hurt refused an offer to accompany a traveling medicine show, preferring to stay close to home.
Hurt played solo at local parties where his fluid yet highly syncopated guitar style made him a favorite among Carroll County dancers. His fame was localized, however; it was not until 1912 that he started playing parties around Jackson, Mississippi, 103 miles from his native Avalon. While Hurt worked mostly outside music as a farmer and laborer, his musical reputation among whites as well as blacks led to his first recording session in Memphis in 1928. Willie T. Narmour and Shell W. Smith, two white country musicians from Carroll County, recommended him to their record producer, Tommy Rockwell.
Hurt recorded eight sides for the Okeh label, two of which were released and sold well: "Frankie" and "Nobody's Dirty Business." In Memphis for the same recording session was St. Louis guitarist/pianist Lonnie Johnson, and Hurt later recalled that Blind Lemon Jefferson and Bessie Smith were also in town. He saw none of these famous musicians play but instead returned home to Avalon. Okeh called Hurt to New York City for another session in December 1928, where he cut twelve additional sides, including "Avalon Blues." Again, Hurt returned home to Avalon to farm and play music for local parties.
These two sessions were the extent of Hurt's recording before the Great Depression curtailed record sales. His graceful picking, gentle crooning, and homespun lyrics marked him as an exceptionally talented musician. The preponderance of songs about legendary figures in his repertoire ("Casey Jones," "Frankie," "Stack O'Lee Blues") and the lack of then-modern blues influences on his style, establish Hurt as a link between the nineteenth and twentieth centuries. Okeh originally designated two of his songs "Old Time Music," an appellation reserved for the label's hillbilly series. This, together with the fact that white musicians were familiar with and recommended his musicianship, suggests strongly that Hurt's music sprang from a common source that produced blues and country music.
Hurt lived a quiet life as a farmer and laborer, playing occasional parties and fish fries until 1963. He was rediscovered in Avalon, a consequence of having named it as his hometown in a record made thirty-five years before. Hurt enjoyed great popularity during the blues revival of the 1960s, making television appearances, playing folk festivals, and recording albums. Exceptionally well liked by all who came in contact with him, he became the most famous of all the rediscovered 1920s bluesmen, eclipsing in his fame the celebrated Son House and Skip James.
His newfound fame lasted three years before his death on November 2, 1966. Mississippi John Hurt's grave is located outside his hometown of Avalon, Mississippi.
7/05/2012
Stevie Ray Vaughan - Texas Flood
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Buddy Guy, and Albert Collins and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as jazz guitarists like Kenny Burrell and Wes Montgomery, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. From 1983 to 1990 Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 at age 35 cut short a brilliant career in blues and American rock & roll just as he was on the brink of superstardom.
Texas Flood (sometimes called Stormin' in Texas or Flood Down in Texas) is a slow-tempo twelve-bar blues notated in 12/8 time in the key of A♭, written by Larry Davis and recorded for the first time in 1958.
Texas Flood (sometimes called Stormin' in Texas or Flood Down in Texas) is a slow-tempo twelve-bar blues notated in 12/8 time in the key of A♭, written by Larry Davis and recorded for the first time in 1958.
CORINTHIANS CAMPEÃO LIBERTADORES 2012
| Corinthians |  | 2 | x | 0 |  | Boca Juniors |
| Técnico: Tite | Técnico: Julio César Falcioni |
Sobre o confronto
7/04/2012
Johnny Winter - Mississippi Blues
Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.
7/03/2012
JOHNNY WINTER - Jumpin' Jack Flash
Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.
7/02/2012
Johnny Winter - Be Careful With A Fool
Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.
7/01/2012
SAN FELIPE ROBLE MALBEC
Vinhos que experimentei quando vivi na Argentina.
A memória está ajudando. me lembrei de mais um. Este foi degustado nas pizzarias Aromi e El Imperio (nesta última celebrando o anoversário da minha esposa)..
SAN FELIPE ROBLE MALBEC 2010
Comentarios:
Características /
Variedad: 100% Malbec.
Viñedo: Maipú (Mendoza).
Fermentación maloláctica: 100%.
Crianza: 9 meses.
Tipo de barril: Roble americano.
Alcohol: 13, 3%
Notas de cata – Rojo púrpura, con reflejos ciruela. La característica nota floral de la violeta aparece -en nariz- combinada con vibrantes acentos de mermelada de frutos negros y rojos (cassis, cereza) y especias, como pimienta negra. Los taninos dulzones y el perfil jugoso de su estructura en el paladar aportan cualidades para lograr el aterciopelado final de boca.
Maridaje: carnes vacunas grilladas, morcillas, bife con salsa criolla, cordero horneado en larga cocción, hongos a la parrilla, empanadas, pato con aceitunas (tajine), conejo a la cazadora, goulash con arroz blanco o gnocchi.
A memória está ajudando. me lembrei de mais um. Este foi degustado nas pizzarias Aromi e El Imperio (nesta última celebrando o anoversário da minha esposa)..
SAN FELIPE ROBLE MALBEC 2010
Comentarios:
Características /
Variedad: 100% Malbec.
Viñedo: Maipú (Mendoza).
Fermentación maloláctica: 100%.
Crianza: 9 meses.
Tipo de barril: Roble americano.
Alcohol: 13, 3%
Notas de cata – Rojo púrpura, con reflejos ciruela. La característica nota floral de la violeta aparece -en nariz- combinada con vibrantes acentos de mermelada de frutos negros y rojos (cassis, cereza) y especias, como pimienta negra. Los taninos dulzones y el perfil jugoso de su estructura en el paladar aportan cualidades para lograr el aterciopelado final de boca.
Maridaje: carnes vacunas grilladas, morcillas, bife con salsa criolla, cordero horneado en larga cocción, hongos a la parrilla, empanadas, pato con aceitunas (tajine), conejo a la cazadora, goulash con arroz blanco o gnocchi.
Blind Lemon Jefferson - Lonesome House Blues
Blind Lemon Jefferson (September 24, 1893 at some point in Mid-December, 1929) was a blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been titled "Father of the Texas Blues"
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