Sunday, December 22, 2013

Rev KM Williams in Israeli News network

January 13, 2013 - Blues instance, Pastor KM Williams, heating - Danny Dorchin and Noam Dayan. Saturday 01/12/2013. Attended, photographed and touched Blues reports - Yuval Erel. The article was also published in " megaphone "independent newspaper network. Pastor Kay. Um. Williams Israel. Photo: Yuval Erel Pastor Kay. Um. Williams Israel. Photo: Yuval Erel African American pastor sermon on Saturday night, sounds reasonable, but this time we are dealing sermon blues with lots of love to Israel IsraelA lot of love of Israel back, so you can summarize what happened in the show summarizing the visit to Israel by Pastor Ki. um Williams of Houston, Texas, a kind of messenger blues. Blues is a musical style and vocal and instrumental based on the pentatonic scale and typically the characteristics of harmonic progression of 12 boxes. Blues has many incarnations in the folk style in the cotton fields of the Mississippi Delta to Rock - Blues of the late sixties style. However, the Blues felt in all styles of popular music. The origin of the blues is in the United States, the singing of African slaves. This included singing work songs, religious songs and characteristics of African-rooted music. This style is considered to be poetical, melodic, harmonic and has its own special rhythm, which distinguishes it from any other musical style. When they entered the electrical instruments massive use of music in the fifties, the blues was the basis for the birth of rock and roll, which marked a new era in music history. Blues greatly influenced popular music and led to the myriad styles representing the weight of modern Western music: jazz, rhythm and blues, rock, metal, country and even some influences on modern classical music. l After the show - North Mississippi AllStars, after the visit of Robert Balfour, a young man of 71 north Mississippi community Hblozistim gave Israel a valuable lesson how to play the "blue sadness that" it's the next step - Pastor Kay. Um Williams , say that he is " stiff as dry skin of a snake in the deserts of the south, as beautiful as the sunrise over the Gulf of Mexico west and slashing as the Red River north of the country, next to him was born 56 years ago . " Rumor just like in fairy tales, Williams learned to play more as a child playing blues drifter who moved to the city ...
Williams, had a very brief visit here to appear before hundreds of addicts genre temple local rock Barbie participate artist's workshop in the creator, to appear before the crowd in Jerusalem on a Friday night cold and snowy and summarize his visit to Israel concert blues, right, in the basement (Lbontinsba) dank and dark intimate but packed to capacity with a young audience in spirit but his silver hair. The show started a local heating of Noam Dayan and Danny Dorchin gave much respect to the genre, and the time has come for this. Then came the priest, a black suit, shirt unbuttoned, tie fifty shades of gray, leather shoes and a hat Borsalino Black decorated, ready to demand that the Sermon on Sunday at church, but this time it was the church of a different kind, the Church of the Blues, a show of nearly two hours without a break, Booty types of guitars, accompanied by drummer Yonatan Bar Rashi and some songs even Danny Dorchin joined with Wonder harmonica ...
Pastor periodically bestows love on the audience, wisdom and true wisdom, handed my ears crowd the real roots of the blues, rough, dirty, popular, direct, without flattering and impartially. The essence of the experience occurred the evening could keep using photos and some video clips, those who felt listening, understand ... Video

Sunday, December 1, 2013

Washington Phillips

Washington Phillips (January 11, 1880 – September 20, 1954) was a Texan gospel singer and musician.The mystery begins the first time you hear the flowing gospel of Washington Phillips, whose entire recorded output consists of 18 songs recorded from 1927- 1929. His sweetly-sung Christian blues, bathed in a celestial haze of notes from an instrument that sounds like a child's music box, stand out amongst the work of guitar evangelists and street corner Scripture-ites of the era. Phillips' sacred porch songs provide evidence of a higher power, for how could man alone create music for the angels? After his five sessions in a Dallas studio, where he'd been summoned by Columbia Records field recorder Frank Walker, Phillips faded back into obscurity. Ry Cooder led a slight revival in 1971, when he covered Phillips' "Denomination Blues," and newer bands, such as Austin's Knife In the Water, have interpreted his moralistic lullabies for the art rock crowd. For the most part, however, Phillips is virtually unknown except to a cult of rabid musicologists, who revel in the mystique of the man who emerged out of nowhere as a fully-formed artist and just as quickly disappeared.Phillips had some success with his first '78, "Take Your Burden To the Lord" b/w "Lift Him Up That's All," which sold just over 8,000 copies in 1928. (An average Bessie Smith record at the time would sell about 10,000.) Then came the stock market crash of 1929 and the Great Depression. The scouts and field recorders stopped coming from New York in search of raw talent and the labels instead focused on making more refined records which would comply with the escapism sought by a dire populace. In the 1920's, Texans such as blind Pentecostal pianist Arizona Juanita Dranes of Dallas and Marlin's Blind Willie Johnson, whose classic compositions have been covered by Led Zeppelin ("Nobody's Fault But Mine") and Eric Clapton ("Motherless Children") were spicing "Negro spirituals" and songs of praise with barrelhouse piano and slide guitar before anyone else. But the innovative recordings from Texas suddenly stopped. Like Phillips, Dranes made her last recordings in 1929 and Johnson never stepped inside a studio again after April 1930. The "real" Washington Phillips returned to the farming life in the black settlement of Simsboro, content to play for neighbors and churchgoers until 1954, when, at age 74, he died of head injuries suffered from a fall down the stairs at the welfare office in nearby Teague. It turned out that the body had been exhumed the day after it was buried and taken back to Teague, about sixty miles east of Waco, by brother Sim Phillips. Phillips died in 1954 in Teague, Texas.Phillips recorded eighteen songs, all between 1927 and 1929, though only sixteen survive. Some of his songs amount to highly specific and detailed gospel sermons, featuring Phillips' voice self-accompanied by an instrument that sounds like a fretless zither. This instrument, which has been variously identified as a Dolceola, a Celestaphone, two Celestaphones tuned in octaves attached side-by-side, or a Phonoharp (and also is considered by some to be an instrument entirely home-made by Phillips) creates a unique sound on these recordings that makes them immediately recognizable.

Wednesday, November 13, 2013

The Black Ace

Black Ace was the most frequently used stage name of the American Texas blues musician, Babe Kyro Lemon Turner (December 21, 1905 – November 7, 1972),who was also known as B.K. Turner, Black Ace Turner or Babe Turner. Born in Hughes Springs, Texas, United States,he was raised on the family farm, and taught himself to play guitar, performing in east Texas from the late 1920s on. During the early 1930s he began playing with Smokey Hogg and Oscar "Buddy" Woods, a Hawaiian-style guitarist who played with the instrument flat on his lap.Turner then bought a National steel guitar, and began playing what one later critic called "Hawaii meets the Delta," smooth and simple blues. In 1937, Turner recorded six songs (possibly with Hogg as second guitarist) for Chicago's Decca Records in Dallas, including the blues song "Black Ace".In the same year, he started a radio show on KFJZ in Fort Worth, using the cut as a theme song, and soon assumed the name.In 1941 he appeared in The Blood of Jesus, an African-American movie produced by Spencer Williams Jr. In 1943 he was drafted into the United States Army, and gave up playing music for some years.[4] However, in 1960, Arhoolie Records owner Chris Strachwitz persuaded him to record an album for his record label. His last public performance was in the a 1962 film documentary, The Blues, and he died of cancer in Fort Worth, Texas, in 1972.

Wednesday, October 2, 2013

George "Little Hat" Jones

JONES, GEORGE [LITTLE HAT] (1899–1981). Blues musician George "Little Hat" Jones was born on a farm near the Sulphur River in Bowie County, Texas, on October 5, 1899, the only child of Felix Jones and his wife. The family farm was purchased by Jones's grandfather, a former slave. Jones was a talented, though little-known, blues musician. He quit school at the age of thirteen, after his father became ill and several crops were destroyed, in order to help out on the farm. During this period his mother bought him his first guitar. Between 1916 and 1929 he probably worked as a menial laborer. He acquired his nickname at a construction job in Garland. Because Jones came to work with a hat from which half the brim had been cut off, his boss called him "Little Hat" Jones and even made out his paychecks this way.In 1929 Jones was in San Antonio. He first recorded, for OKeh Records, on June 15 of that year, when he cut two records of his own, "New Two Sixteen Blues" and "Two String Blues," and played backup for Texas Alexander. Jones then made a contract with OKeh for three years and recorded "Rolled from Side to Side Blues," "Hurry Blues," "Little Hat Blues," "Corpus Blues," "Kentucky Blues," "Bye Bye Baby Blues," "Cross the Water Blues," and "Cherry Street Blues." He also played in such cities as New Orleans, Galveston, and Austin, and occasionally ventured into Mexico. He was influenced in his guitar playing by Blind Lemon Jefferson and played with T. Texas Tyler and Jimmie Rodgers.In 1937 Jones settled in Naples, Texas, with his second wife, Janie Traylor, and worked at odd jobs. In the years before his death he was employed at the Red River Army Depot. He died on March 7, 1981, and is buried in the Morning Star cemetery in Naples.

Thursday, September 12, 2013

You See Me Laughin'

This is the great Fat Possum Documentary on North Mississippi Hill Country Blues! A Must see!

Wednesday, July 31, 2013

T- Model Ford

The Great T-Model ford! Gone Home but not Forgotten!!!

Thursday, February 14, 2013

Eddie C. Campbell

Eddie C. Campbell (born May 6, 1939, Duncan, Mississippi, United States) is an American blues guitarist and singer, active in the Chicago blues scene.Campbell moved to Chicago, Illinois, when he was ten years old, and by age 12 had already jammed with Muddy Waters, and learned first hand from Waters, Magic Sam and Otis Rush. In his early years as a professional musician, Campbell played as a sideman with Howlin' Wolf, Little Walter, Little Johnny Taylor, and Jimmy Reed.Although Campbell's music is strongly reminiscent of that classic West Side blues sound, he would prefer to call it "black culture" music. His parents, sharecroppers, moved to the Windy City when Eddie C. was six years old. His mother helped him buy his first guitar at age eight. She would take him to the 1125 Club on Madison Street, where he met the legendary Muddy Waters, who told Eddie C. he could sit in if he learned to play. After relentless study, Eddie C. learned "Still A Fool", and Muddy allowed him to sit in with the band. Eddie C. Campbell was twelve years old! In the mid-50's, when Eddie C. was still in his teens, he was jamming around on the blues scene with Luther Allison and Willie James Lyons, Big Monroe, drummer Willie Buckner, and harp player Pee Wee Madison. The versatile performer was one of the most flamboyant and popular musicians on the West Side scene, riding around on a purple motorcycle, sporting a red Jazzmaster guitar, learning karate and winning sixteen knockouts as an amateur boxer. By the late 50's, Campbell's band was backing up Percy Mayfield, Lowell Fulson, Tyrone Davis, and Little Johnny Taylor, and Eddie C. was performing with Little Walter, Muddy Waters, Howlin' Wolf, Otis Rush, and Mighty Joe Young. It was also during this period that he became close friends and running buddies with Magic Sam, who lived two doors down and was to prove influential on Campbell's music. In 1963 Eddie C. became the band director for Jimmy Reed, a gig he held periodically until Reed's death in 1976. Shortly thereafter, Campbell began to work with Koko Taylor, who recommended him to Willie Dixon. Eddie C. played in Willie Dixon's Chicago Blues All-Stars for the next four years.In 1976, Willie Dixon hired him to play in the Chicago Blues All-Stars. Campbell's debut album, King of the Jungle was released the following year, with accompaniment from Carey Bell (harmonica) and Lafayette Leake (piano).His later recordings were enhanced by a discipline not always evident in his life. In 1977, while with Dixon's band, he recorded King of the Jungle, which was released on the Mr. Blues label and reissued on Rooster Blues in 1985. In 1979 he toured Europe for the first time with the American Blues Legends Tour. He moved to Europe in 1984, working at first in England, then moving to Holland, and finally to Germany. While he was in Amsterdam, Eddie C. recorded an album entitled Let's Pick It! for the Black Magic label (reissued on Evidence in 1993). While in Europe he also toured in a German stage adaptation of William Faulkner's Requiem For A Nun.In 1984, Campbell left Chicago for Europe, settling initially in the Netherlands[2], later in Duisburg, Germany. He worked there for a decade before returning to Chicago in the 1990s.] Campbell returned to Chicago in December 1992 so that his son could be born in the United States. He soon resumed work on his latest album, That's When I Know, released on Blind Pig in October 1994. As Dick Shurman says in the liner notes, "His life in England, Holland, and Germany brought some peace with himself and deepened his sense of self as a bluesman and as the product and expression of Black culture. His chops and creativity were fueled by a greater sense of context and renewed personal stability." Eddie C. completed the album, which is composed entirely of sparkling originals. Campbell specializes in jaunty, irresistibly danceable rhythms overlaid with lithe guitar lines, often placed so tightly in the pocket of the beat that his lead guitar almost doubles as a rhythm instrument. Add his unique songwriting abilities and compelling vocals, and you've got That's When I Know, a top-notch blues album that gives notice that Eddie C. Campbell is "an American resource to treasure." Campbell's latest album is Spider Eating Preacher (Delmark, 2012).

Saturday, February 2, 2013

Tommy Johnson

1896 in Terry MS Died: November 1, 1956 in Crystal Springs MS Even many Delta blues enthusiasts are unfamiliar with Tommy Johnson's enormous impact on the development of the blues. A powerful vocalist with a menacing howl and a haunting falsetto, Johnson was also a gifted guitarist with a complex and technically-advanced playing style. Johnson's influence can be heard in the music of Howlin' Wolf, Robert Nighthawk, and even pianist Otis Spann. Still, Johnson's musical accomplishments are considered below those of contemporaries like Charley Patton or Son House in the Delta hierarchy. Making His Bones Taught guitar by his older brother LeDell, by the age of 16 Johnson had turned "pro," playing songs for tips on the street. By the end of the decade, Johnson was often playing across the Delta at house parties and in juke-joints with fellow up-and-comers like Charley Patton and Willie Brown. Johnson's reputation was built on his fiery live shows, which would stretch on for hours as the singer showboated for his audience. A larger-than-life figure, Johnson drank heavily, and had a taste for both women and gambling. Unlike many of his contemporaries, Johnson wasn't driven to perform. He'd take the stage when he felt like it, or when the money ran low, and he often performed alongside bluesmen Rubin Lacy and Ishmon Bracey. Long before the rumors swirled around Robert Johnson, folks in the Delta believed that it was Tommy Johnson that actually met with the devil at the crossroads one dark and stormy night, hoping to strike a deal. Regardless of the myth’s origins, Robert must have been the better negotiator of the two (unrelated) musicians because Tommy Johnson became a mere footnote in the blues genre (even after a character based on Johnson appeared in the hit movie O Brother, Where Art Thou?). Johnson's talent was undeniable, however, and it was inevitable that he would record. Traveling to Memphis in February 1928, Johnson cut a number of sides for Victor (later RCA Victor). A second session was held in Wisconsin in December 1929. Johnson would continue to perform until his death in 1956, but he never rose above his humble roots. His talent diminished by alcoholism, Johnson's songs, like "Canned Heat Blues" and "Cool Water Blues," would become blues standards nonetheless.

Tuesday, January 1, 2013

Juke Boy Bonner

Weldon H. Philip Bonner, better known as Juke Boy Bonner (March 22, 1932 – June 29, 1978) was an American blues singer, harmonica player, and guitarist. He was influenced by Lightnin' Hopkins, Jimmy Reed, and Slim Harpo. He described the bleak prospects of black urban existence in songs like "Life is a Nightmare", "Struggle Here in Houston" and "Going Back to the Country", accompanying himself on guitar, harmonica and drums in the self-sufficient one-man band mode of Joe Hill Louis and Dr. Ross.Born in Bellville, Texas, Bonner was one of nine children; his parents died while he was very young. Raised by a neighbor's family, he moved in with his older sister in 1945. At the age of twelve he taught himself the guitar.[1] He gained the nickname "Juke Boy" as a youth, because he frequently sang in local bars accompanied by the juke box. Starting a musical career as teenager, he won the first prize at local disc jockey Trummie Cain's weekly talent show at the Lincoln Theater in Houston, Texas in 1948. Through this he secured a 15 minute radio slot on a show operated by record retailer Henry Atlas. After having three children with his wife, she left him to look after the children by himself. Between 1954 and 1957 he recorded several singles for the Oakland, California based Irma record label, but not all were released at the time. In 1960 he recorded again, this time for the Goldband Records, Storyville Records, and Jan & Dill Records labels. In 1963 he was diagnosed with a large stomach ulcer, and had to have almost half of his stomach removed in surgery. The shock of this operation, plus the social climate of the times (which included civil rights riots and the assassination of President John F. Kennedy) led Bonner to begin writing poetry, some of which was published in the Forward Times weekly newspaper. Recovering from surgery, Bonner worked as an RCA record distributor in Houston. Once his strength returned he began playing gigs again in the local area. In 1967 Bonner recorded his first album for the Flyright label. Chris Strachwitz's Arhoolie label released two albums, I'm Going Back to The Country (1968) and The Struggle (1969) (Arhoolie would later issue some of Bonner's unreleased 1967-1974 recordings on 2003's Ghetto Poet). Bonner recorded mostly original song material through his recording career. He was a guest at the Ann Arbor Blues Festival, the American Folk Blues Festival, and the Montreux Blues and Rock Festival. In 1972 he released an LP for Sonet Records, and in 1975 another one for the Houston based Home Cooking Records label.He died in 1978 aged 46 of cirrhosis of the liver.