Τετάρτη, 26 Οκτωβρίου 2011

Stevie Ray Vaughan & Jeff Beck - I'm Goin' Down

Stevie Ray Vaughan και Jeff Beck... Δυο μεγάλα και πασίγνωστα ονόματα στο χώρο της μουσικής που συνεργάζονται τέλεια σ' ένα πολύ γνωστό τραγούδι Blues....











Τετάρτη, 19 Οκτωβρίου 2011

Memphis Slim - Discotheque Boogie

Maybe, you didn't get much from Memphis Slim's sound so i uploaded another song of him.

Just remember that he has a great common thing with John Lee Hooker! As John Lee is the pioneer of the guitar boogie, Memphis Slim is the pioneer of the piano boogie!

And another thing! Memphis Slim was a gentleman, he was like an aristocrat in the blues field! He had been living in Paris for many years, that's why!

The song is from the same LP as it was in the previous post...



Πέμπτη, 13 Οκτωβρίου 2011

Memphis Slim - Strollin' Through The Park

Another boss of the Bues! Really, i can't find the right words to describe what exactly the name "Memphis Slim" means to the Blues! Anyway, i 'll write the biography of that great bluesman!

Memphis Slim (September 3, 1915, Memphis, United States – February 24, 1988, Paris, France) was an American blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump blues, included saxophones, bass, drums, and piano. A song he first cut in 1947, "Every Day I Have the Blues," has become a blues standard, recorded by a raft of other artists. Slim made over 500 recordings and for decades influenced the blues pianists who followed him.

Memphis Slim's birth name was John Len Chatman. His father Peter Chatman sang, played piano and guitar, and operated juke joints, and it is now commonly believed that he took the name to honor his father when he first recorded for Okeh Records in 1940. Although he started performing under the name Memphis Slim later that same year, he continued to publish songs under the name Peter Chatman.

He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in Memphis, Arkansas, and southern Missouri. He settled in Chicago in 1939, and began teaming with Big Bill Broonzy in clubs soon afterward. In 1940 and 1941 he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman," and "Grinder Man Blues." These were released under the name "Memphis Slim," given to him by Bluebird's producer, Lester Melrose. Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee "Sonny Boy" Williamson, Washboard Sam, and Jazz Gillum. Many of Slim's recordings and performances until the mid 40s were with guitarist and singer Broonzy, who had recruited Slim to be his piano player after Joshua Altheimer's death in 1940.

After World War II, Slim began leading bands that, reflecting the popular appeal of jump-blues, generally included saxophones, bass, drums, and piano. With the decline of blues recording by the majors, Slim worked with the emerging independent labels. Starting in late 1945, he recorded with trios for the small Chicago-based label Hy-Tone. With a lineup of alto saxophone, tenor sax, piano, and string bass (Willie Dixon played the instrument on the first session), he signed with the Miracle label in the fall of 1946. One of the numbers recorded at the first session was the ebuliient boogie "Rockin' the House," from which his band would take its name. Slim and the House Rockers recorded mainly for Miracle through 1949, enjoying commercial success. Among the songs they recorded were "Messin' Around" (which reached number one on the R&B charts in 1948 and "Harlem Bound." In 1947, the day after producing a concert by Slim, Broonzy, and Williamson at New York City's Town Hall, folklorist Alan Lomax brought the three musicians to the Decca studios and recorded with Slim's on vocal and piano. Lomax presented sections of this recording on BBC radio in the early 1950s as a documentary titled The Art of the Negro, and later released an expanded version as the LP Blues in the Mississippi Night. In 1949, Slim expanded his combo to a quintet by adding a drummer; the group was now spending most of its time on tour, leading to off-contract recording sessions for King in Cincinnati and Peacock in Houston.

One of Slim's 1947 recordings for Miracle, released in 1949, was originally titled "Nobody Loves Me." It has become famous as "Every Day I Have the Blues." The tune was recorded in 1950 by Lowell Fulson, and subsequently by a raft of artists including B. B. King, Elmore James, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, and Lou Rawls. Joe Williams recorded it in 1952 for Checker; his remake from 1956 (included in Count Basie Swings, Joe Williams Sings) was inducted in the Grammy Hall of Fame in 1992. "Every Day I Have the Blues" is also seen in John Mayer's, Where The Light Is, a DVD (and CD) live recording in Los Angeles' Nokia Theatre featuring Steve Jordan (drums) and Pino Palladino (bass).

Early in 1950, Miracle succumbed to financial troubles, but its owners regrouped to form the Premium label, and Slim remained on board until the successor company faltered in the summer of 1951. His February 1951 session for Premium saw two changes in the House Rockers' lineup: Slim started using two tenor saxophones instead of the alto and tenor combination, and he made a trial of adding guitarist Ike Perkins. His last session for Premium kept the two-tenor lineup but dispensed with the guitar. During his time with Premium, Slim first recorded his song "Mother Earth".

Slim made just one session for King, but the company bought his Hy-Tone sides in 1948 and acquired his Miracle masters after that company went broke in 1950. He was never a Chess artist, but Leonard Chess bought most of the Premium masters after that company failed.

After a year with Mercury Records, Slim signed with United Records in Chicago; the A&R man, Lew Simpkins, knew him from Miracle and Premium. The timing was propitious, because he had just added Matt "Guitar" Murphy to his group. He remained with United through the end of 1954, when the company began to cut back on blues recording.

Slim's next steady relationship with a record company had to wait until 1958, when he was picked up by Vee-Jay. In 1959 his band, still featuring Matt "Guitar" Murphy, cut LP Memphis Slim at the Gate of the Horn, which featured a lineup of his best known songs, including "Mother Earth," "Gotta Find My Baby," "Rockin' the Blues," 'Steppin' Out," and "Slim's Blues".

Slim first appeared outside the United States in 1960, touring with Willie Dixon, with whom he returned to Europe in 1962 as a featured artist in the first of the series of American Folk Festival concerts organized by Dixon and promoter Willie Dixon that brought many notable blues artists to Europe in the 1960s and 1970s. The duo released several albums together on Folkways Records, including, Memphis Slim and Willie Dixon at the Village Gate with Pete Seeger, in 1962. That same year, he moved permanently to Paris and his engaging personality and well-honed presentation of playing, singing, and storytelling about the blues secured his position as the most prominent blues artist for nearly three decades. He appeared on television in numerous European countries, acted in several French films and wrote the score for another, and performed regularly in Paris, throughout Europe, and on return visits to the United States. In the last years of his life, he teamed up with respected jazz drummer George Collier. The two toured Europe together and became friends. After Collier died in August 1987, Slim appeared in public very little. Two years before his death, Slim was named a Commander in the Ordre des Arts et des Lettres by the Ministry of Culture of the Republic of France. In addition, the U.S. Senate honored Slim with the title of Ambassador-at-Large of Good Will.

Memphis Slim died on February 24, 1988, of renal failure in Paris, at the age of 72. He is buried at Galilee Memorial Gardens in Memphis, Tennessee. In 1989, he was posthumously inducted into the Blues Hall of Fame.


Don't wonder about the bad quality of the sound. As you may understand, it was an old LP of Memphis Slim that i converted to digital sound (mp3, you know). I hope you won't mind and finally you 'll like the song!

Παρασκευή, 7 Οκτωβρίου 2011

Billy Boy Arnold - Billy Boy's Blues (2008)

Did you ever think that we could easily finish with "Billy Boy" Arnold? No, no way! So, another video of this great bluesman! Real Blues from "Billy Boy" Arnold! Just notice that Billy Boy is 73 years old in this gig! But he seems 20 years younger! On drums there is another true legend, the Blues veteran, named Willie "Big Eyes" Smith! Billy Flynn on guitar. Enjoy!














Billy Boy knows the Blues...

Σάββατο, 1 Οκτωβρίου 2011

Billy Boy Arnold - Dirty Mother Fucker

Billy Boy Arnold is a leading American blues harmonica player, guitarist, singer and songwriter! His real name is William Arnold.

Born in Chicago on 1935, he began playing harmonica as a child, and in 1948 received informal lessons from his near neighbour John Lee "Sonny Boy" Williamson, shortly before his death. Arnold made his recording debut in 1952 with "Hello Stranger" on the small Cool label, a record company which gave him the nickname "Billy Boy".

In the early 1950s, he joined forces with street musician Ellias McDaniel and played harmonica on the March 1955 recording of the Bo Diddley song "I'm a Man" released by Checker Records.

Arnold signed a solo recording contract with Vee-Jay Records, recording the originals of "I Wish You Would" and "I Ain’t Got You". In the late 1950s Arnold continued to play in Chicago clubs, and in 1963 he recorded a LP, "More Blues From The South Side", for the Prestige label, but as playing opportunities dried up he pursued a parallel career as a bus driver and, later, parole officer.

By the 1970s Arnold had begun playing festivals, touring Europe, and recording again. He recorded a session for BBC Radio 1 disc jockey John Peel on 5 October 1977. In 1993 he released the album "Back Where I Belong" on Alligator Records, followed by "Eldorado Cadillac" (1995) and "Boogie ’n’ Shuffle" (2001), "Chicago Blues Harp" (2003), "Consolidated Mojo" (2005), "Dirty Mother" (2007), "Billy Boy Sings Sonny Boy" (2008)....


Billy Boy knows the Blues...