Takin' A Chance - Hazel Scott

Hazel Scott

Lonnie Johnson - Careless Love

Alfonzo "Lonnie" Johnson (February 8, 1899 – June 16, 1970), was a pioneering Blues and Jazz guitarist and banjoist. He started playing in cafes in New Orleans and in 1917 he traveled in Europe, playing in revues and briefly with Will Marion Cook's Southern Syncopated Orchestra. When he returned home to New Orleans in 1918 he discovered that his entire family had been killed by a flu epidemic except for one brother. He and his surviving brother, James "Steady Roll" Johnson moved to St. Louis in 1920 where Lonnie played with Charlie Creath's Jazz-O-Maniacs and with Fate Marable in their Mississippi riverboat bands. In 1925 Johnson married Blues singer Mary Johnson and won a Blues contest sponsored by the Okeh record company. Part of the prize was a recording deal with the company. Throughout the rest of the 1920s he recorded with a variety of bands and musicians, including Eddie Lang, Louis Armstrong and his Hot Five and the Duke Ellington Orchestra. In the 1930s Johnson moved to Cleveland, Ohio and worked with the Putney Dandridge Orchestra, and then in a tire factory and steel mill. In 1937 he moved back to Chicago and played with Johnny Dodds, and Jimmie Noone. Johnson continued to play for the rest of his life, but was often forced to leave the music business for periods to make a living. In 1963 he once again appeared briefly with Duke Ellington.

Sister Rosetta Tharpe - This Train

Alongside Willie Mae Ford Smith, Sister Rosetta Tharpe is widely acclaimed among the greatest Sanctified gospel singers of her generation; a flamboyant performer whose music often flirted with the blues and swing, she was also one of the most controversial talents of her day, shocking purists with her leap into the secular market -- by playing nightclubs and theaters, she not only pushed spiritual music into the mainstream, but in the process also helped pioneer the rise of pop-gospel. Tharpe was born March 20, 1915 in Cotton Plant, AR; the daughter of Katie Bell Nubin, a traveling missionary and shouter in the classic gospel tradition known throughout the circuit as "Mother Bell," she was a prodigy, mastering the guitar by the age of six. At the same time, she attended Holiness conventions alongside her mother, performing renditions of songs including "The Day Is Past and Gone" and "I Looked Down the Line."

In time, the family relocated to Chicago, where Tharpe began honing her unique style; blessed with a resonant vibrato, both her vocal phrasing and guitar style drew heavy inspiration from the blues, and she further aligned herself with the secular world with a sense of showmanship and glamour unique among the gospel performers of her era. Signing to Decca in 1938, Tharpe became a virtual overnight sensation; her first records, among them Thomas A. Dorsey's "Rock Me" and "This Train," were smash hits, and quickly she was performing in the company of mainstream superstars including Cab Calloway and Benny Goodman. She led an almost schizophrenic existence, remaining in the good graces of her core audience by recording material like "Precious Lord," "Beams of Heaven," and "End of My Journey" while also appealing to her growing white audience by performing rearranged, uptempo spirituals including "Didn't It Rain" and "Down by the Riverside."

During World War II, Tharpe was so popular that she was one of only two black gospel acts -- the Golden Gate Quartet being the other -- to record V-Discs for American soldiers overseas; she also toured the nation in the company of the Dixie Hummingbirds, among others. In 1944, she began recording with boogie-woogie pianist Sammy Price; their first collaboration, "Strange Things Happening Every Day," even cracked Billboard's race records Top Ten, a rare feat for a gospel act, and one which she repeated several more times during the course of her career. In 1946, she teamed with the Newark-based Sanctified shouter Madame Marie Knight, whose simple, unaffected vocals made her the perfect counterpoint for Tharpe's theatrics; the duo's first single, "Up Above My Head," was a huge hit, and over the next few years they played to tremendous crowds across the church circuit.

However, in the early '50s Tharpe and Knight cut a handful of straight blues sides; their fans were outraged, and although Knight soon made a permanent leap into secular music -- to little success -- Tharpe remained first and foremost a gospel artist, although her credibility and popularity were seriously damaged. Not only did her record sales drop off and her live engagements become fewer and farther between, but many purists took Tharpe's foray into the mainstream as a personal affront; the situation did not improve, and she spent over a year touring clubs in Europe, waiting for the controversy to die down. Tharpe's comeback was slow but steady, and by 1960 she had returned far enough into the audience's good graces to appear at the Apollo Theatre alongside the Caravans and James Cleveland. While not a household name like before, she continued touring even after suffering a major stroke in 1970, dying in Philadelphia on October 9, 1973.

Billie Holiday - Strange Fruit

Billie Holiday was a true artist of her day and rose as a social phenomenon in the 1950s. Her soulful, unique singing voice and her ability to boldly turn any material that she confronted into her own music made her a superstar of her time. Today, Holiday is remembered for her masterpieces, creativity and vivacity, as many of Holiday's songs are as well known today as they were decades ago. Holiday's poignant voice is still considered to be one of the greatest jazz voices of all time.

Etta James - I Just Want To Make Love To You

Jerry Wexler, Atlantic Records’ legendary producer, describes Etta James as “the greatest of all modern blues singers...the undisputed Earth Mother.” Her raw, unharnessed vocals and hot-blooded eroticism has made disciples of singers ranging from Janis Joplin to Bonnie Raitt. James’ pioneering 1950s hits - “The Wallflower” and “Good Rockin’ Daddy” - assure her place in the early history of rock and roll alongside Little Richard, Chuck Berry and Ray Charles. In the Sixties, as a soulful singer of pop and blues diva compared with the likes of Dinah Washington and Billie Holiday, James truly found her musical direction and made a lasting mark.

James was born Jamesetta Hawkins in Los Angeles in 1938. Though brought up in the church, she was drawn to rhythm & blues and rock and roll, and by her midteens had formed a vocal trio that worked up an answer song to Hank Ballard’s “Work With Me Annie” entitled “Roll With Me Henry.” The trio caught the attention of bandleader Johnny Otis, who recorded “Roll With Me Henry,” which was retitled “The Wallflower” and topped the R&B chart for four weeks in 1955. James toured the R&B circuit with Otis and other artists and recorded for Modern Records until 1958.

It was at the Chicago-based Chess label (where she recorded for Chess and its Argo and Cadet subsidiaries) that she molded her identity as a singer of both modern blues and pop-R&B ballads. She was signed by Leonard Chess in 1960 and had her talent nurtured by producer Ralph Bass and mentor Harvey Fuqua (of the Moonglows). James crossed over to the pop market as an interpreter of soulful, jazz-tinged ballads such as “All I Could Do Was Cry,” “My Dearest Darling,” “Trust in Me” and “Don’t Cry, Baby,” which she sang without sacrificing her bluesy and churchy vocal mannerisms. In the late Sixties, she adapted a grittier Southern-soul edge, cutting “Tell Mama” and “I’d Rather Go Blind,” which remain among the most incendiary vocal performances of the era. All totaled, James launched thirty singles onto the R&B singles chart and placed a respectable nine of them in the pop Top Forty as well.

For much of her career James battled heroin addiction, which has added to her aura as a survivor. A cleaned-up James made a successful comeback in the Seventies, re-signing with Chess in 1973 and opening for the Rolling Stones in 1978. In 1984, James sang “When the Saints Go Marching In” at the opening of the Summer Olympics in Los Angeles, and through the late Eighties and Nineties remained active on the touring and recording fronts, cutting the Grammy-nominated albums Seven Year Itch in 1988 and Stickin’ to My Guns in 1990, and reuniting with Jerry Wexler to record 1992’s The Right Time with the simpatico Southern-soul musicians at Muscle Shoals Recording Studios. In 1993, James was inducted into the Rock and Roll Hall of Fame, and a year later she recorded Mystery Lady: Songs of Billie Holiday for the Private Music label. The tribute album earned James a Grammy Award, and she recorded more than half a dozen albums for Private through 2003, including Love's Been Rough on Me, Matriarch of the Blues and Let's Roll. The Dreamer appeared in November 2011. James passed away on January 20, 2012 at age 73.

Bessie Smith - I'm Wild About That Thing

Bessie Smith, the "EMPRESS OF THE BLUES".

Born on April 15, 1894, in Chattanooga, Tennessee, Bessie Smith was one of ten children. Both of her parents had died by her eighth birthday, and she was raised by her older sister Viola and encouraged to sing and dance by her oldest brother Clarence. He soon joined the Moses Stokes traveling show, leaving Smith and their brother Andrew to sing for pennies on Chattanooga street corners.

Clarence later arranged an audition for Smith with the Moses Stokes Company and she was hired as a dancer in 1912. She became friends with an older Moses Stokes veteran, Gertrude "Ma" Rainey, who was called the Mother of the Blues and likely exercised some influence over the young singer. Smith had her own voice, however, and owed her success to no one. Her heavy, throaty vocals were balanced by a delightful sense of timing. Her live shows were a blend of comedy and drama in song. Smith was popular in Philadelphia, New York, and Baltimore, but she was beloved in the South. In 1923, her vaudeville touring led her to Memphis, where she played packed houses at the Palace Theater on Beale Street.

On February 16, 1923, Smith recorded "Gulf Coast Blues" and "Down Hearted Blues," accompanied by Clarence Williams on piano. Although recorded by Memphis singer Alberta Hunter a year before, Smith's "Down Hearted Blues" sold more than 780,000 copies in six months. Her sales made her a blues star on par with Mamie Smith (no relation), a vaudeville singer who had ignited the race records market with her 1920 recording "Crazy Blues."

Although Smith recorded extensively for Columbia - nearly 160 songs between 1923 and her last session in 1933 - her live performances were equally successful. During the 1920s she commanded fees of $2,000 a week and played sold-out theaters across the South, North, and Midwest. Her stage success influenced women blues singers like Memphis Minnie, but male blues singers like Leadbelly, who only heard her on record, emulated her too. She recorded with the best jazz sidemen, including pianists Fletcher Henderson and James P. Johnson, clarinetists Benny Goodman and Buster Bailey, guitarist Eddie Lang, saxophonists Coleman Hawkins and Don Redman, and cornetist Louis Armstrong. In May 1925, she made the first electronically recorded record, "Cake Walking Babies," by singing into the newly invented microphone.

During the Depression of the 1930s, Smith's drawing power in the large cities of the North and Midwest began to wane, but she remained popular in small towns and throughout the South. Furry Lewis proudly recalled playing with Smith in Chicago during the 1930s. She even made an early movie when W.C. Handy asked her to play the lead in a short film called "St. Louis Blues" loosely based on his song. On Sept. 26, 1937, after finishing a performance in Memphis, Smith and her manager were driving south on Highway 61, north of the Crossroads in Clarksdale, Mississippi, when their car struck an oncoming truck. The crash nearly severed Smith's right arm. She was taken to G.T. Thomas Hospital (now the Riverside Hotel) in Clarksdale where she died the following morning.

Bessie Smith is buried in Mount Lawn Cemetery in Sharon Hill, Pennsylvania.

Alberta Hunter - Darktown Strutters' Ball

Alberta Hunter was a pioneering African-American popular singer whose path crosses the streams of jazz, blues and pop music. While she made important contributions to all of these stylistic genres, she is claimed exclusively by no single mode of endeavor. Hunter recorded in six decades of the twentieth century, and enjoyed a career in music that outlasted most human lives.

Hunter was born in Memphis, and depending on which account you read, she either ran away from home or her family relocated to Chicago when she was 12-years-old. Her career began in the bawdy houses on the south side of Chicago, probably in 1911 or 1912, although she claimed 1909. Early on she married, but ultimately discovered she preferred women to men. In Chicago Hunter worked with legendary pianist Tony Jackson, was good friends with King Oliver's pianist Lil Hardin Armstrong, and even sang in white clubs. But working in these violent, rough-and-tumble nighteries was dangerous business, and not long after an incident where Hunter's piano accompanist was killed by a stray bullet, she decided to try her talent in New York.

Not long after she arrived, Hunter made contact with the Harry Pace and his Black Swan Records concern. Hunter's initial records for Black Swan, made in May 1921, were the first blues vocals recorded by the company. Later, after Paramount acquired Black Swan, these sides were co-mingled with Hunter's newer Paramount recordings; her work from both labels dominated the early couplings in the Paramount 12000 Race series. Her recordings were also pressed up for labels like Puritan, Harmograph, and Silvertone under pseudonyms such as Josephine Beatty, Alberta Prime, Anna Jones, and even May Alix, the name of another (incidentally inferior) real live singer!

Although some listeners accustomed to her voice on her post-1977 recordings have little or no use for these early waxes, Hunter contributed positively to some very important sessions. These include a 1923 Paramount date where she was accompanied by a white group, the Original Memphis Five, said to be the first session of its kind; the famous Red Onion Jazz Babies session for Gennett-Champion's New York studio with Louis Armstrong and Sidney Bechet that produced "Cake Walking Babies from Home" and the vocal version of "Texas Moaner Blues"; many sessions backed by Fletcher Henderson's earliest orchestra, and some others where she was supported by Fats Waller, Eubie Blake, Lovie Austin, and Tommy Ladnier. Altogether, Hunter made more than 80 sides before 1930, most of them being made before 1925. A (rumored) rejected 1926 date for Vocalion teamed her with King Oliver, Lil Armstrong, and Johnny Dodds, but nothing concrete about this session has ever surfaced, and certainly no recordings of it.

During the '20s, Hunter also established herself as a songwriter of some significance; her song "Downhearted Blues" was covered by Bessie Smith on her first recording for Columbia -- it was a huge hit for Smith. Hunter was able to break easily into the black vaudeville circuit and by 1927 she was off to Europe for an extended stay which would keep her out of the U.S. for most of the depression. In London in 1934, Hunter made an extensive series of recordings with an orchestra led by Jack Jackson, some of these being straight-up pop records with no pretension of being blues or jazz. Returning to the U.S. in 1935, Hunter still found an audience waiting for her, but record dates were getting harder to come by. She made sessions with ARC, Bluebird, and Decca, but these generated no hits, and some weren't even released. Hunter ultimately wound up working for fly-by-night indies such as Regal and Juke Box in the '40s. Unfazed, Hunter worked the USO circuit during World War II and still had considerable drawing power in terms of personal appearances. There are those who insist that her recordings are nothing but a weak imitation of the real thing, and that it was Alberta Hunter the "live" performer that kept her fan base active during these years.

Hunter dropped out of show business for two decades starting in 1956 in favor of working as a licensed practical nurse at a hospital in the New York City area. She broke from this routine only once, in 1961, in order to make a justly celebrated album for Bluesville which reunited her with her old friends Lovie Austin and Lil Hardin Armstrong. None of her patients or co-workers at the hospital had any idea who she was or what a famous name she had been, and Hunter preferred it that way.

Amtrak Blues When Hunter retired from nursing in 1977, she was 81 and ready to go back on the road. By this time her voice was gritty, down and dirty, and her fans loved her for it. She made four albums for Columbia between 1977 and her death in 1984, including the extraordinary Amtrak Blues, and for many younger listeners these are the records by which Alberta Hunter is defined. Oddly, these same fans have little patience for her sweet and precious singing in the '20s, and relatively few outside of England would have much tolerance for her '30s work with Jack Jackson. Nonetheless, all of Hunter's recordings are interesting and wonderful in their own way.
Alberta Hunter was one of the earliest African-American singers, along with Sippie Wallace, to make the transition from the lowly brothels and sporting houses into the international spotlight. That she defies easy categorization attests to the astonishing fact that she was on the scene a little before the genres themselves were defined. Her longevity as a popular artist is equaled by only a few others, and she was successful in adapting her style to changes in popular taste, as well as along the lines of her own personal experiences.

Ma Rainey - Booze And Blues

If Bessie Smith is the acknowledged “Queen of the Blues,” then Gertrude “Ma” Rainey is the undisputed “Mother of the Blues.” As music historian Chris Albertson has written, “If there was another woman who sang the blues before Rainey, nobody remembered hearing her.” Rainey fostered the blues idiom, and she did so by linking the earthy spirit of country blues with the classic style and delivery of Bessie Smith. She often played with such outstanding jazz accompanists as Louis Armstrong and Fletcher Henderson, but she was more at home fronting a jugband or washboard band.

A country woman to the core, Rainey was born in Columbus, Georgia, on April 26, 1886. She began performing at age 14 with a local revue and, in her late teens, joined the touring Rabbit Foot Minstrels. By all accounts, she was the first woman to incorporate blues into vaudeville, minstrel and tent shows. In fact, it is believed that Rainey coached a young Bessie Smith while touring with the Rabbit Foot Minstrels. After more than a quarter-century as a performer, Rainey was signed to Paramount Records in 1923, at age 38. She recorded over a hundred sides during her six years at Paramount. Her most memorable songs were often about the harsh realities of life in the Deep South for poor blacks, including such classics as “C.C. Rider,” “Ma Rainey’s Black Bottom” and “Bo Weavil Blues.”

When the blues faded from popularity in the Thirties, the earthy Ma Rainey returned home to her Georgia hometown, where she ran two theaters until her death from a heart attack in 1939.

Recorded: New York , October 15 1924
'Ma' Rainey And Her Georgia Band
Ma Rainey (vcl), Howard Scott (cn), Charlie Green (tb), Don Redman (c), Fletcher Henderson (p), Kaiser Marshall (d)

Duke Ellington - C Jam Blues

A 1942 recording of C Jam Blues beformed by Duke Ellington, Barney Bigard, Sonny Greer, Ray Nance, Joe 'Tricky Sam' Nanton, Rex Stewart, and Ben Webster.

The Jeff Healey Band - Live Montreux - Hocchie Coochie Man

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Healey Band - Roadhouse Blues (Live In Belgium)

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Healey's Jazz Wizards - Sweet Georgia Brown

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Healey Band - While My Guitar Gently Weeps - Live At Montreux 1997

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Healey and the Jazz Wizards - I Would Do Anything For You

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Nina Simone - Mississippi Goddam

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

The Official Home of Nina Simone | The High Priestess of Soul

Bing Crosby, Frank Sinatra, Peggy Lee and Louis Armstrong - I'm Glad We're Not Young Anymore

The Bing Crosby Show

Nina Simone - Feeling Good

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

The Official Home of Nina Simone | The High Priestess of Soul

Now You Has Jazz - That's Jazz 1956 - Bing Crosby and Louis Armstrong

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:

• 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.

To most Americans, he was the eternal Crooner: a much celebrated and beloved performer of unparalleled popularity. Yet Bing Crosby was far more than that: He was an architect of 20th century entertainment, a force in the development of three industries that barely existed when he came into the world: recordings, motion pictures, and broadcasting. As the most successful recording artist of all time; an abiding star of movies, radio, and television; and a firm believer in the wonders of technology, he helped to transform and define the cultural life not only of the United States, but of the world.

Nina Simone - Central Park Blues

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

The Official Home of Nina Simone | The High Priestess of Soul

Bessie Smith - Yellowdog Blues

Bessie Smith, the "EMPRESS OF THE BLUES".

Born on April 15, 1894, in Chattanooga, Tennessee, Bessie Smith was one of ten children. Both of her parents had died by her eighth birthday, and she was raised by her older sister Viola and encouraged to sing and dance by her oldest brother Clarence. He soon joined the Moses Stokes traveling show, leaving Smith and their brother Andrew to sing for pennies on Chattanooga street corners.

Clarence later arranged an audition for Smith with the Moses Stokes Company and she was hired as a dancer in 1912. She became friends with an older Moses Stokes veteran, Gertrude "Ma" Rainey, who was called the Mother of the Blues and likely exercised some influence over the young singer. Smith had her own voice, however, and owed her success to no one. Her heavy, throaty vocals were balanced by a delightful sense of timing. Her live shows were a blend of comedy and drama in song. Smith was popular in Philadelphia, New York, and Baltimore, but she was beloved in the South. In 1923, her vaudeville touring led her to Memphis, where she played packed houses at the Palace Theater on Beale Street.

On February 16, 1923, Smith recorded "Gulf Coast Blues" and "Down Hearted Blues," accompanied by Clarence Williams on piano. Although recorded by Memphis singer Alberta Hunter a year before, Smith's "Down Hearted Blues" sold more than 780,000 copies in six months. Her sales made her a blues star on par with Mamie Smith (no relation), a vaudeville singer who had ignited the race records market with her 1920 recording "Crazy Blues."

Although Smith recorded extensively for Columbia - nearly 160 songs between 1923 and her last session in 1933 - her live performances were equally successful. During the 1920s she commanded fees of $2,000 a week and played sold-out theaters across the South, North, and Midwest. Her stage success influenced women blues singers like Memphis Minnie, but male blues singers like Leadbelly, who only heard her on record, emulated her too. She recorded with the best jazz sidemen, including pianists Fletcher Henderson and James P. Johnson, clarinetists Benny Goodman and Buster Bailey, guitarist Eddie Lang, saxophonists Coleman Hawkins and Don Redman, and cornetist Louis Armstrong. In May 1925, she made the first electronically recorded record, "Cake Walking Babies," by singing into the newly invented microphone.

During the Depression of the 1930s, Smith's drawing power in the large cities of the North and Midwest began to wane, but she remained popular in small towns and throughout the South. Furry Lewis proudly recalled playing with Smith in Chicago during the 1930s. She even made an early movie when W.C. Handy asked her to play the lead in a short film called "St. Louis Blues" loosely based on his song. On Sept. 26, 1937, after finishing a performance in Memphis, Smith and her manager were driving south on Highway 61, north of the Crossroads in Clarksdale, Mississippi, when their car struck an oncoming truck. The crash nearly severed Smith's right arm. She was taken to G.T. Thomas Hospital (now the Riverside Hotel) in Clarksdale where she died the following morning.

Bessie Smith is buried in Mount Lawn Cemetery in Sharon Hill, Pennsylvania.

Bessie Smith (v), Joe Smith (c), Charlie Green (tb), Buster Bailey (cl), Coleman Hawkins(ts), Fletcher Henderson (p), Charlie Dixon (bjo), Bob Escudero (bb) - Performed at 1925