Blues

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2Jack Pumpkinhead:
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At almost 80, B.B.'s got the blues and that ain't bad
By LARRY WIDEN
Special to the Journal Sentinel
Posted: March 21, 2005
For 60 years, B.B. King has traveled the length and breadth of America to tell millions of listeners about the pleasure and pain that is the essence of the blues.


B.B. On His Brethren
Here's B.B. King's take on some fellow musicians - and himself:

Elvis Presley: "The King! And a real nice guy, too."
Eric Clapton: "Number one rock guitarist in the world. And he plays the blues better than all of us."
Ray Charles: "To call him a genius is an understatement."
The Rolling Stones: "Greatest rock 'n' roll group, and real bluesmen, too."
Muddy Waters: "He did more for the blues than anyone else I can think of."
Stevie Ray Vaughn: "His death was so sad. He was like a son to me."
Tina Turner: "Beautiful, and the hardest working singer I ever saw."
Frank Sinatra: "I loved him. There'll never be another voice like that."
B.B. King: "A guy who wished he could be better."


King will turn 80 in September, yet he shows no sign of slowing down. Despite his age and the diabetes he's battled since 1990, he will play 200 nights this year armed with nothing but his distinctive voice and a guitar named Lucille - including a sold-out show Thursday at Potawatomi Bingo Casino.

So what's left for a legend to look forward to? His new CD, "B.B. King: The Ultimate Collection," was released last week, and in June, groundbreaking for the $10 million B.B. King Museum will take place in Indianola, Miss., near his hometown of Itta Bene. It's an 80th birthday gift of sorts for the man best known as "the king of the blues."

King recently took some time to chat by phone.

Q. How does it feel to be turning 80?

A. Don't rush me. I'm only 79 until September 16th! Right now, I'm in good health. I never thought I'd get to be this age. I'm diabetic, but I take care of myself, and I feel fine. . . . I've been on the road all my life, and I don't see any reason to stop now. As long as I feel good, I'm going to keep right on going.

Q. You've got a lot of kids.

A. I do. I've got 15 children by 15 different women. I know I wasn't the best father because I was always on the road, but I provided for them all, good educations and such. But I don't really discuss them or their mothers out of respect for their privacy.

Q. Talk about the best moment in your life.

A. Well, I'm proud of the fact that I've met four sitting presidents (Gerald Ford, George H.W. Bush, Bill Clinton and the current President Bush). I've also met the pope. But as far as best moment, I'd have to say it was being honored at the Kennedy Center in 1995.

Q. What's the worst?

A. When I was 9. My mother died.

Q. What was it like to grow up in racially segregated Mississippi?

A. I was born in 1925 in a rural area of the Delta. We just understood what the rules were, and we lived by them. Everybody knew that was the way to stay out of trouble. I never really understood segregation until I was about 16 years old. Up until that time I thought it was perfectly normal to drink out of a certain water fountain or eat at certain restaurants. I never knew any other way.

Q. What inspired you to become a musician?

A. I was poor! We never had anything when I was growing up, never had our own home. I picked cotton for a dollar a day, I baled hay by hand, planted corn and soybeans. Then I was offered $3 a day to drive a tractor. But once I got better on the guitar, I could stand on Church Street in Indianola (Miss.) and make $50 or $60 in one evening. Now, why would I want to keep driving that tractor?

Q. You stuttered when you were younger. How did you cope with that?

A. I still stutter sometimes. As for singing, it's never been a problem. I can't really tell you why, but the stutter just goes away when I sing. . . . Eventually I learned to bring it under control. I must have, all right, 'cause I was a disc jockey in Memphis from 1948 to 1952, and people said I was pretty good.

Q. How did you develop your signature style of playing?

A. Asking me to tell you how I developed my style is almost like asking me how I learned to talk. I was always crazy about the steel guitar sound from the country music songs. I also loved the sound of Hawaiian slide guitar. They were so mellow and good and I wanted to learn to make those sounds. The problem is I could never master either of them!

Somewhere along the way I guess I started to bend the guitar string while I made a trilling motion with my hand. Without me really being aware of it, my ears would tell me that it sounded good. Now that style is just a part of me, and I can't pick up a guitar without doing it.

Q. How did your guitar come to be known as "Lucille"?

A. In 1949 I was playing a club just outside of Memphis. Actually, . . . it wasn't so much a club as a shack with a big room in it. For heat the manager lit a garbage can full of kerosene.

Well, don't you know these two men got to fighting over a woman and one of them knocked over that can. The whole floor instantly lit up like a river of fire and everyone, including B.B. King, went running for the door.

It was after I got outside that I realized that I left my guitar behind. I ran back in to get it, but the fire was so hot that the building started to collapse around me. I almost lost my life. I was pretty badly burned, but at least I saved my guitar.

The next morning I learned that the woman that those two men were fighting over was a waitress named Lucille. I named my guitar after her to remind me never to do something so stupid again.

And since you asked, here's a funny story. I got 16 different Lucilles. Every time I needed my guitar repaired, I'd send it to the factory. And while they were working on it, they'd loan me another one.

Only thing is, when I got my regular guitar back, I never did send back the loaner! So over the years I built up a pretty good collection. And when I travel, I only have two Lucilles on the road with me at a time.

Q. In 1951 you had a hit "Three O'Clock Blues." What did that do for your career?

A. Well, I'd already recorded several records by that time, but "Three O'Clock Blues" was a success, and it sure changed my life. I didn't get rich off it, but the record made the Billboard R&B charts and stayed there for a while. That helped black people to know my name outside of Mississippi, Tennessee and Arkansas. I say black people, 'cause I wasn't playing for white audiences at that time. I had a second hit the next year with "You Don't Know Me."

Q. You're working on a new album right now.

A. I'm so excited about this project that's coming together. It's going to be a series of duets with other musicians. We've already done the first track with Elton John - actually, I should say Sir Elton John - and it went very well. Next month we'll be doing songs with Sting, U2, Van Morrison and a few others. I'm looking forward to doing one with Bono. If he can write another great song for me like "When Love Comes to Town," I'll fall down on my knees and thank him.

Q. Name some people who are going to keep the blues alive in the next few years.

A. Oh, that's so hard. We've got a lot of young men who can play much better than I can right now. What I do is, I try to entertain the people as best I can. I play, I sing, maybe make people laugh a little. But these younger guys, their technique and natural playing can just run circles around me. There's Robert Cray, John Mayer, Keb' Mo', Johnny Lang, Kenny Wayne Shepherd and a bunch more that are just excellent.

THE BLUES COMES TO SUNSET BOULEVARD

Los Angeles' famous Sunset Boulevard is set to get a dose of the blues when legends MUDDY WATERS, ETTA JAMES, IKE TURNER and ROBERT CRAY are inducted into Hollywood's Rock Walk on the same day.

Waters will celebrate his 90th birthday at the induction ceremony on Monday (04APR05).

The blues greats will join legends including BRIAN WILSON, BB KING, JOHNNY CASH and ERIC CLAPTON when they place their handprints in the cement on the famous stretch of sidewalk.

Friday, March 25, 2005

This Guy keeps blues going on
Mentor to many, music legend Buddy Guy gets his props and heads to city for show tonight
By John W. Barry
Poughkeepsie Journal


Courtesy photo
Buddy Guy got his first break in 1963, playing with blues legend Muddy Waters.
Robert Cray called him ''psychedelic before anyone knew what psychedelic meant. He's stone-cold blues and he's a master showman.''

Eric Clapton talked about hearing him on records as a teenager and finally getting to see him perform live in 1965 at England's Marquee Club.

B.B. King said he was an inspiration to ''many, many, many people, including myself.''

In taped video segments and live on stage, blues royalty on March 14 paid homage to guitarist Buddy Guy, when the son of Louisiana sharecroppers was inducted into the Rock and Roll Hall of Fame along with U2, The Pretenders, Percy Sledge and The O'Jays.

King and Clapton formally inducted Guy in a ceremony that featured video footage of the current Chicago nightclub owner going lick for lick with Clapton decades ago. But more than any one instance, the ceremony's spotlight on Guy offered a wide lens snapshot of a humble blues guitarist who injected a little James Brown-funk into the dirge of the Mississippi Delta.

''I looked up and accepted that Hall of Fame induction, but I still say it should be given to Son House, Lightnin' Hopkins ...'' Guy said of these blues legends during a recent telephone interview with the Journal, days after the Rock and Roll Hall of Fame ceremony. ''I learned everything I know from them.''

Guy will be showing off his talents and everything he learned from the greats when he performs tonight at a sold-out concert at the Bardavon 1869 Opera House in Poughkeepsie.

But he will also be indirectly sharing with the audience his musical memories of growing up in the south and moving to Chicago that have defined him as an icon of American blues music.

A nickel for a song

The oldest boy in a family of five with three boys and two girls, Guy, 68, was born in Lettsworth, La. There was no electricity, no running water and at night, temperatures could reach 105 degrees.

''There was one road,'' Guy recalled while speaking with the Journal. ''You'd have to know where you're going, because you couldn't get lost. There were no turnoffs. If you turned off, you'd be in the field. It was all farming out there. Lettsworth was one little stop, one post office, one general store, two joints with a jukebox.''

For a nickel, you could hear a song played on a 78 rpm record.

''That was Saturday night,'' he said. ''Then you're back the next day with the tractors.''

Every two years, Guy's mother would order him a new pair of pants out of the Montgomery Ward catalog -- that's where he first saw an acoustic guitar. Unable to procure his own six-string, Guy set to making his own with window screen wire, an empty lighter fluid can, wooden board and rubber bands.

As a teenager, Guy moved 60 miles to Baton Rouge to live with his sister and attend high school. But that only lasted about five months, as his mother had a stroke and he was needed back on the farm, ''driving tractors, riding the range and watching the cows.''

In September 1963, a 27-year-old Guy was summoned by Muddy Waters to play on a record that Chess Records was putting together to capitalize on the spotlight that such folk singers as Bob Dylan, Tom Rush and Dave Van Ronk were putting on the blues. Playing bass on ''Folk Singer'' was legend Willie Dixon.

Seven years later, Guy would find himself and his blues band on the ''Festival Express,'' a train that roared through the Canadian countryside in 1970 with The Band, Janis Joplin and others on board. The train stopped in towns along the rail line to give concerts but was also an incubator for open jams while traveling between gigs.

An anchor of the Chicago blues scene, Guy 16 years ago opened his own nightclub and restaurant -- Legends.

Customers can gaze over the bar at guitars once owned by King, Carlos Santana, John Lee Hooker and others. From the menu, customers can order spicy frog legs marinated in hot sauce and breaded in cornmeal, fried and served with creole honey-mustard sauce; southern fried okra; and blackened bourbon barbecue shrimp.

Nightclub hosts legends

The Legends stage has hosted such notables as Clapton, the Fabulous Thunderbirds and Koko Taylor. Also gracing the stage at Legends has been guitarist Murali Coryell of Boiceville, Ulster County, who was joined under the lights by Guy. Coryell's relationship with Guy's legend was underscored March 12, when Guy's guitarist and drummer joined the son of jazz guitarist Larry Coryell on stage at Fat Fish Blue in Cleveland.

''It's all about dynamics, the more quiet he played, the more intense he got, the more people paid attention,'' Coryell, who tonight will share a city with Guy when he plays a few blocks from the Bardavon at Noah's Ark, said about playing with the Rock and Roll Hall of Fame inductee.

''It was a tremendous lesson in not having to be loud to get people's attention. That's the difference between blues and rock 'n' roll.''

During the Rock and Roll Hall of Fame induction ceremony, Guy performed with Clapton and King and he indeed got quiet, maintaining the attention of the crowd and exuding humility, flashing a wide smile as lights beat down on his bald head.

The trio's performance, backed by the CBS Orchestra -- Paul Shaeffer and the gang from the '''Late Show with David Letterman'' -- spoke from the heart of the blues and the belly of the bayou. But almost even more impressive was how Clapton, during his induction speech, described the impact that Guy's 1965 Marquee Club gig had on him.

''My course was set,'' Clapton said. ''And he was my pilot.''

Sonny Landreth "Grant Street" 2005
Гарантирую:такого вы ещё не слышали.Сонни конечно не новичок,у него и свои альбомы есть,и сотрудничество с лучшими людьми.Он уникум слайда.Но такого звука (на живом альбоме) ещё слышать не доводилось никогда ни у кого.

2Кот Котофеич - and what 'bout ''how blye can you get?''

По наводке Papаn-a взял послухать последнего лайфового Сонни Ландрэта.
До этого когда-то попадался совместный живой сет с Нопфлером в поддержку "Сейлинг ту Филадельфия". Были самые приятные воспоминания, а вот теперь сольный аттракцион :)
Отличный клубный сет. Густой жирный овердрайв, своеобразная луизианская манера атаковать гитарные струны пальцами с аппликаторами. Много фирменных фишек-мелизмов от Сонни, исполненных с южной пассионарностью. Правда, особенно на быстрых вещах,у меня сложилось впечатление , что энта "домашние заготовки", а не импровизационный "сиюминут"…Интересное начало в кельтских тонах, а затем весчь шаффловая, которая мне понравилась: "Дорога разбитых сердец", напомнила Рай Кудера 80-х . Альбом наверняка понравится всем поклонникам белого блюз-рока. Сильный мажорный драйв. Шикарная "Ветер в Денвере"… Я на его концерт сходил бы с удовольствием. Не один. И не один раз.
Недостатки? Ну, как обычно: хроническая проблема уайт-блюз-рока : вокал.
Но с лихвой всё отмывается неординарным слайдом.
В качестве "алаверды" могу посоветовать papan-у послухать, конечно если он еще не слышал, чёрного стил-педальшика-слайдера(тот-ышо "Фредди Крюгер с ногтями" :) Роберта Рандольфа (Robert Randolph) – кажись, родственная душа :)

К дедушкиному юбилею на прилавках появился очередной сборник "Ultimate Collection". 21 хит , ничего нового. Предназначен для тех, кто не хочет тратиться на двойной сборник хитов, и для упёртых поклонников-коллекционеров.

john lee hooker***
Спасибо за наводку.Роберта Рандольфа действительно не слухал,надо поискать.А голос у Сонни и вправду не блюзовый.Но чистый и приятный.Кельтовость вначале тоже была замечена с большой приятственностью.Почему-то вспомнился Рори Галлахер.

Вчера послушал альбом Leslie West'а "Guitarded" '2004. Не знаю, кто он такой, но впечатления самые положительные!

2Tex:

Это человек из темы про группу Mountain

По результатам поиска Leslie West упоминался в следующих темах форума:

1. Дорогие битломаны, кому за сорок, отзовитесь.
2. Последние два CD, которые вы купили?
3. Что новенького! (обсуждение "лицензионных дисков")
4. Группа Mountain.
5. Опрос!!! Ваш любимый гитарист!;)
6. Black Sabbath
7. Джимми Хендрикс
8. Old brown shoe
9. Steve Morse
10. Ваше любимое электро-гитарное соло.
11. СЕГОДНЯ В БИТЛОВСКОЙ ИСТОРИИ
12. 100 гитаристов изменивших мир
13. Koch Records выпустит tribute-диск памяти Джорджа
14. Крупнейший композитор современности
15. Джо Линн Тёрнер интервью.
16. Вниманию всх любителей каверов!!!!
17. Диск " A tribute to George Harrison"
18. Roger Daltrey headlines third annual Rock n' Roll Fantasy Camp
19. Трибьют Харрисона
20. Deep Purple Mark One
21. George Harrison Tribute Album To Feature Dave Davies, Roger McGuinn, Julian Lennon & Others

Tex***
https://www.beatles.ru/postman/forum_messages.asp...4359&cpage=4&forum_id=&showtype0#reply
Если не трудно,оставь в этой теме пару слов,а то есть мнение ,что Mountain это пошехонская старина,интересная здесь только полутора человекам.

papan
Неправильное мнение.

Dvas Nickolas***
Да,неправильное.Но оно отражает тот факт,что о группе знают гораздо меньше,чем она заслуживает.И понимаю,что со Смоки тягаться трудно.

FORD, ROBBEN - NEW MORNING: PARIS CONCERT
Street Date: 05/10/05

Description:
This electrifying concert was recorded in May 2001 in the "New Morning" club in Paris, one of the most important European jazz clubs. The packed house experienced Robben Ford in peak form. It was a truly classy performance on the stage that night. Accompanied by Louis Pardini (keyboards), Jimmy Earl (bass) and Brannen Temple (drums) Robben Ford showed every facet of his furious guitar playing. With numbers like "Start It Up", "Moonchild Blues", "Deaf, Dumb And Blind" or "You Got Me Knockin'" the virtuoso excelled himself and played blues rock which simply can't be bettered. As a bonus track, there is a 24 minute interview, where Robben Ford talks very candidly about his career.

Label: MVD
Running Time: 114 mins

26 апреля выходит на Теларке очередной альбом одного из главных гитарных героев блюза Jimmy Thackery "Healin' Ground".Довольно крепкая работа кажется,разнообразная ,местами жёстко,попсы никакой нет.Голос уже совсем хриповатый.Несколько инструменталов,как и положено.

ОЧЕНЬ ГРУСТНАЯ НОВОСТЬ...

Rock and Roll Hall of Famer Johnson Dies

By JIM SALTER
.c The Associated Press

ST. LOUIS (AP) - Johnnie Johnson, a rock 'n' roll pioneer who teamed with Chuck Berry for hits like ``Roll Over Beethoven'' and ``No Particular Place to Go,'' died Wednesday. He was 80.

Johnson died at his St. Louis home. The cause of death was not immediately known, said publicist Margo Lewis. He had been hospitalized a month ago with pneumonia and was on dialysis for a kidney ailment, said John May, a friend and fellow musician.

Though he was never a household name, Johnson and Berry's long collaboration helped define early rock 'n' roll. Johnson often composed the music on piano, then Berry converted it to guitar and wrote the lyrics. In fact, Berry's ``Johnny B. Goode'' was a tribute to Johnson.

After he and Berry parted ways, Johnson performed with Keith Richards, Eric Clapton, John Lee Hooker and Bo Diddley, among others. He was inducted into the Rock and Roll Hall of Fame in 2001 in the ``sidemen'' category.

``He left the indelible imprint of his sound,'' May said. ``He was able to transition through any musical style because he just loved to play music.''

Berry was on a plane returning from a visit to Europe on Wednesday and unavailable for comment, a spokeswoman said.

Johnson was born in Fairmont, W.Va., and began playing piano at 4. He moved to Chicago after World War II, where he played jazz and blues in clubs. He moved to St. Louis in the early 1950s, forming his own R&B band, the Johnnie Johnson Trio.

When a band member became ill on New Year's Eve 1952, Johnson hired Berry to fill in.

Johnson and Berry parted ways in the early 1970s, and in 2000, Johnson sued Berry, seeking a share of royalties and proper credit for what Johnson said were more than 50 songs the men composed together. A federal judge dismissed the suit in 2002, ruling that too many years had passed since the disputed songs were written.

The lawsuit contended that Berry took advantage of Johnson's alcoholism, misleading him into believing that only Berry was entitled to own the copyrights ``and reap the monetary benefits.''

Johnson is survived by his wife and children.