Blues

2SergeK:

>А я вот сижу и думаю...
>Не открыть ли тему: "Непроходящий восторг от
>прослушивания последнего альбома Роберта Крэя"?!
Да давно пора уже...
Плюс "Дорогие больные "Бэд Инфлюэнсом" -- отзовитесь " :-)

2john lee hooker:
>Плюс "Дорогие больные "Бэд Инфлюэнсом" -- отзовитесь " :-)
Кстати, отличная пластинка! :)))))))))))))))

john lee hooker ***
Джонни, я ни хрена не понимаю! Ты выложил сет-лист буревестников 80-х годов.
У меня есть этот DVD - получил из Амазона -, но под названием Tuff Enuff. Ничего не понимаю...

А нащёт Крэя, то болен я им давно и все покупаю его и покупаю. Ну... сам то он мне не продаётся, а вот диски его - огогого.

2Alex Red:

>john lee hooker ***
>Джонни, я ни хрена не понимаю! Ты выложил сет-лист
>буревестников 80-х годов.
>У меня есть этот DVD - получил из Амазона -,
>но под названием Tuff Enuff. Ничего не понимаю...
Заминка мне понятная...сам офигел, ежели учитывать, шо на обложе JLV, который, как известно, давно "как жырный пИнгвин глупо спрятал тело" и свалил от "Ти-бёрдоф" :)
На анонсе написано, шо в этом месяце вышел со звуком 5.1 ... Про ТаффЭнафф ф курсе...Вероятно, решили переиздать к выпуску нового студийного + в поддержку-мерчендайзингу тура по Юнайтед Стейтсам... Поглядел-полистал, везде разные даты (полный перл : Recorded 1969 Ж-)))) Так шо вполне возможно, что старый концерт...

john lee hooker***
Не возможно, а именно старый, 1985 год. А в Штатаз выпущен в 2000. Оригинальная обложка прилагается.

Вот и славненько: значить комута не придётся покупать ышораз :)
(тоже оригинальная обложа :)))

john lee hooker ***
так может тебе сделать копию, чтоб ты не тратился? Видео не стоит больших денег. Это я тебе точно говорю.

2Alex Red:
Спасиб, Алекс...Я к "братану" равнодушен...что ти-бёрды, шо...кхммм Крэй....Короче, спокойно могу обойтися...Но фтихаря, как-нидь у тебя посмотрю :)))

А у Мэйэлла то настоящий скрипач.Dale Morris Jr. зовут.

А новых Тибёрдов то послушали уже?

Извиняюсь, я просто пробежал :))) ..................

Ram On The Run***
Стой! Куда?

~> papan:
ПозднА-А-А!!! :)))) ................................

2papan:

>А новых Тибёрдов то послушали уже?

Papan, здесь мала-мала кусочоф есть :)
http://www.mp3.com/albums/20049410/summary.html

john lee hooker***
Я огрызки то послушал.Но впечатления не составил.

"Guitar One" (6/2005) посвещён блюзу. Большя статья о Бадди, кроме того рассказываются и показываются секреты "Как играють блюз "настоящие индейцы" :) (от Сонни Ландрэта до Фрэдди Кинга)...
Выкладываю интересную статейку о "четырёх поколениях в блюзе" на одной NYC-сцене (David "Honeyboy" Edwards, Robert "Junior" Lockwood, Little Milton Campbell,Warren Haynes, John Mayer, Bob Margolin и Buddy Guy
-------------------------------------------------------------
BYSEAN McDEVITT ( PHOTOGRAPHY BY AL PEREIRA)
Just six weeks before Buddy Guy's induction into the Rock and Roll Hall of Fame, he graced a Manhattan stage to headline a show that featured a remarkable spectrum of blues guitarists. That event, "Blues Express: Legends of the Blues," tookplaceonacold January night within the warm confines of Lincoln Center's Avery Fisher Hall, before an audience of about 3,000, and it was significant not just for its entertainment value but also for the bill's sheer depth. The night began with short sets from David "Honeyboy" Edwards and Robert "Junior" Lockwood—both of whom will turn 90 years old before the end of 2005— and concluded with Guy flanked by 27-year-old John Mayer. In between were sets by alumni from the Howlin' Wolf and Muddy Waters bands (including Wolf guitarists JodyWilliams and Freddie Robinson, and Waters axeman "Steady Rollin'" Bob Margolin), as well as some sizzling six-string interplay between Little Milton Campbell and his special guest, slide master Warren Haynes.
For Margolin, the experience was like being a kid in candy store. During a brief photo op with Little Milton and Lockwood a couple of hours before the show, Margolin could be overheard saying, "Man, I'm in good company!" And he was right. "They're people who are my heroes," he explained minutes later. "I've lived my life around their music, and I was deeply inspired by both of them— and by all the players here. I mean, I know those guys, and I've played with most of them, but it still knocks me out. It's a big shot of inspiration."
Such gatherings usually lead to two threads of conversation among blues enthusiasts: the first pertains to individual influences and heroes; the second contemplates the music's past, present, and future. The taciturn Lockwood, whose pioneering history as an electric guitarist and whose connection to a bygone musical era—specifically, to Robert Johnson—makes him an ideal centerpiece for both, preferred to leave the interviews to others, as you can tell from our exchange:
Q: Mind if I ask you a few questions? A: Don't take very long.

Q: Looking back on it now, are you happy
with your decision to give up the organ for
the guitar?
A: I'm happy that Robert Johnson came
along.
Q: What did he do for you?
A: He taught me how to play.
Q: What specifically did he teach you?
A: Everything.
The Arkansas-born Lockwood, who, along with jazz giant Charlie Christian, was among the first professional musicians to play an electric guitar, eventually explained that "Robert was doing something that the other guitar players wasn't doin'. He was playin' by himself, backin' himself up. That's why I jumped on for the ride." Later that night, an electric 12-stringinhis hands, Lockwood took to the stage and served up textured renditions of Johnson's "Love in Vain Blues" and "32-20 Blues."
"Robert Junior does these turnarounds in the key of E," Margolin said, "and I don't know if they're from Mars or what—I guess they're from jazz. Butthey're very creative, and they work great in the country-blues context. They kind of put some sophistication into the country-blues, and when he plays in a jazzy style it's more funky than smooth."
David "Honeyboy" Edwards, Lockwood's only contemporary at the gig, is as gentle as Lockwood is gruff. Also a link to Robert Johnson, he's a wonderful storyteller, an engaging soul, and his wrinkled hands and lined, weathered face tell the story of another era. Considering he once played town squares for spare change, he can't help but marvel at what today's blues scene has become. "I never thought the blues had growed like it's growed," he said, nursing a can of Budweiser. "But blues is somethin' most everybody like 'cause you hear a lot of gospel in blues. Know what I mean?"
As Edwards spoke from the hospitality room located in the bowels of Avery Fisher Hall, the Howlin' Wolf Band played onstage. The band wasn't exactly tight as it ran through tunes like "Forty Four" and "Shake for Me," but one highlight was the beautiful, rounded tone produced by Jody Williams' red 1962 Gibson ES-345. "That guitar was under my bed for 30 years," Williams said prior to taking the stage. "I had planned for it to stay there."

окончание...
--------------
The blues indeed has many sad stories, but few are as agonizing as that of Jody Williams. A pioneering Chicago session player in the early 1950s, Williams started to grow disenchanted with the business when a lick he waxed for "Billy's Blues," a 1956 Chess single by R&B vocalist Billy Stewart, found its way onto "Love Is Strange," a 1957 Billboard chart topper for Mickey and Sylvia. Williams sued for royalties, with no success. By 1965, he'd walked away from it all. He was only 30 years old.
"When someone steals something from you that you love so much ... well, I felt I should be a millionaire," he said. "I was ripped off. I'm not a millionaire, but my memories are worth millions." Williams, whose signature tune is a 1957 minor-key instrumental called "Lucky Lou," went to work as a technical engineer for Xerox. He retired in the mid-'90s— and that Gibson was still under his bed. In the late '90s, however, after seeing a performance by Robert Lockwood, Williams set about mak-ing a comeback. He's been rebuilding his once-promising music career ever since.
"I still have a part-time job, too," he explained. "I work as an ATM technician. When I leave the house in the morning, I'm in full uniform, with a bulletproof vest on and a big .357 Magnum on my hip. I go to banks and work on their cash machines."
Ever use that gun?
"You got to discourage somebody every now and then," he said. "But I haven't shot anybody."
--------------------------------
What Was Muddy Like?
--------------------------------
It's probably the one question that Bob Margolin has heard more than any other. In fact, you'll find a link dedictated to that very subject on his Web site, bobmargolin.com.
"He was a very charismatic person," Margolin said. "If you just saw him on the street, you'd go, 'Oh, that guy must be somebody.' He was very special that way, and he was the ultimate musical talent. Music just oozed out of him. If he sat in the front seat of the van, just singing something to himself, you'd just sit there with your mouth open and go, 'Oh my god, listen to that voice.' Just the sound of his voice had more blues in it than most people will ever have. He was pretty special."
Margolin is both a torchbearer and an anomaly: he knows more about Muddy Waters' guitar style than anyone still walking the earth, and on this night he fronted the veteran outfit with a calm authority. Yet at the same time, the 55-year-oldisbyfartheyoung-est member of the Waters alumni group— 36 years younger than pianist Pinetop Perkins.
"Of course, we'll lose more and more of the older guys, and you never know who's next to go," he said, speaking just weeks after the passing of Son Seals. "But what I find very exciting is that I meet a lot of teenagers and musicians in their early 20s, especially guitar players, who have the same love of the music that I know I had. They talk about the same things we do—the great players, the people that inspired them. And they'll carry it on."
Little Milton Campbell, who has been carrying it on since first recording for Sun Records in the 1950s, commanded the audience next. The tasteful, soulful sounds he coaxed from his Gibson ES-355 meshed wonderfully with Warren Haynes' slide lines, and the two locked into a deep groove with the help of Guy's backing band. "You have to be careful with the guitar," Milton said. "You got so many people out here that try to sound exactly like somebody. So ifyou ever discover a unique style of your own, and you're comfortable with it, thenyou should do whatyou feel. I couldn't stand to just stand there and play 12-bar blues all night long—fast, slow, medium—it'd get boring."
It isn't long before the show's main attraction, none other than Buddy Guy, joins him. "It's a small world," Guy says later. "You know, Little Milton was there at Chess when I was there, and tonight was the first time I ever got a chance to play on a stage with him. And him and I agreed with it!"
John Mayer later joins Guy, surprising many in the audience who were unfamiliar with the pop star's blues-guitar chops. "Man, I tell you," Guy said later. "I've played with John a few times, and he knows the blues, that's for sure. He'll sit in the corner and sing a B.B. King tune. Or a Buddy Guy tune or something! But he knows it all. He's the real deal."
Margolin didn't specifically mention Mayer (the fourth and final generation of the evening) by name when asked to ponder the future of the music, but he could have been: "There's a lot of young players out there now who really have the talent. It's a lot harder to make a living playing blues now than it used to be, but these people love it so much that they're gonna do whatever it takes. And they're gonna play it for the rest of their lives. And as time marches on, we're gonna lose some of our legends, but at least we'll still have their music".

Ну, теперь ясно, кто не долюбливает Майера...Это Боб "Стеди Роллин" :)))
А Бадди о Майере -- только самые лестные слова...

Узнал недавно про Эрика Стекела (www.ericsteckel.com), послушал немного -- впечатляет! Даже первый альбом, записанный из зала, очень неплох (вокал, конечно, совсем детский, но ведь вокалисту тогда было 11 лет). Может кто знает, где можно загрузить оба альбома Эрика Стекела в mp3? Я смог найти только 2-минутные демо-кусочки нескольких песен.