1-CD mit 36-seitigem Booklet, 34 Einzeltitel, Spieldauer 82:36 Minuten. 34 seiner Rompin´ Stompin´ songs. Seine klassischen Aufnahmen The Hot Guitar & Black Denim Trousers And Motorcycle Boots sind natürlich enthalten Außerdem enthält die CD 7 bisher unveröffentlichte Titel Smilin´ Eddie Hill war Sänger und zugleich ein Country Music-DJ der ersten Stunde. Er kam nach Knoxville, Tennessee, und begegnete dort unter anderem Chet Atkins und Johnnie & Jack. In Memphis arbeitete er dann mit den Louvin Brothers (zu ihren begeisterten Zuhörern gehörten täglich Elvis und Johnny Cash). Schließlich landete Hill in Nashville, wo er zur festen Größe bei WSM wurde, dem Radiosender der Grand Ole Opry. Eddie Hills erfolgreichste Platte war 1951 sein stampfender Hit The Hot Guitar . Natürlich ist er hier vertreten, genau wie Black Denim Trousers And Motorcycle Boots sowie Cold, Cold Woman ( The Hot Guitar ), der Steamboat Stomp , A Hard Road To Travel und Knock It Off : durchweg Musik, die punktgenau in unsere hochgelobte Country-Boogie-Reihe ´Gonna Shake This Shack Tonight´ passt! Der Rockabilly-Experte Bill Millar hat die Titel zusammengestellt, die zwischen 1947 und 1957 eingespielt wurden – also in Eddies künstlerisch fruchtbarstem Jahrzehnt. Heraus kam eine feurige Mischung aus Country, Country Jazz und Rock ´n´ Roll, damals aufgenommen für Labels wie Apollo, Decca, Mercury, RCA Victor und Columbia. Jeder Song ist ein Abbild von Eddie Hills gigantischer und trotzdem bodenständiger Persönlichkeit. Wichtig für alle Fans des außergewöhnlichen Fingerpickings: Eddie Hill war ein überaus erfahrener Musiker, der sich ausschließlich mit hochklassigen Kollegen umgab – was natürlich automatisch auf die Qualität der Songs abfärbte. Zu den Begleitmusikern gehören hier unter anderem Chet Atkins , Hank Garland und Paul Buskirk , ein Kumpel von Willie Nelson .
1-CD-Album im 4-seitigen Digipak mit 48-seitigem Booklet, 30 Einzeltitel. Spieldauer: 74:04. Quicklebendiger Western Swing und Hillbilly von einem der Pioniere, fast alle Songs gab es noch nie auf CD - und nur wenige wurden bisher auf LP wieder veröffentlicht. Hinzu kommen drei nie erschienene Aufnahmen und Let Me Go, Devil , das sehr seltene Original von Let Me Go, Lover . Der 1998 gestorbene Wade Ray war viele Jahre lang Mitglied der Begleitgruppe von Willie Nelson . Er spielte eine brandheiße Swing-Fiddle und war ein vielseitiger Sänger, der mit Jazz, Country, Pop und sogar mit Rock-Songs glänzte. Diese Zusammenstellung dokumentiert seine makellose, teils explosive Herangehensweise an den Swing - alles andere als ein Nachteil, dass bei seinen Aufnahmen Speedy West , Jimmy Bryant, Noel Boggs, Billy Liebert, Chet Atkins und Owen Bradley mitwirkten. Zu den 30 Titeln gehören Abräumer wie die klassische Trucker-Hymne Idaho Red, It´s All Your Fault mit Boggs, Walk Softly (nur haarscharf an einem Hit vorbei geschrammt), das bluesige Too Late To Dream , das swingende Instrumental Dipsy Doodle , das unveröffentlichte Perdido sowie zwei extrem seltene Aufnahmen - aus der Zeit nach RCA - für Fabor Records. Eine angemessene Würdigung seiner Leistung; Begleittext von Rich Kienzle plus ausführliche Diskografie.
Titel: The First Five Years - V / a Jazz Cellar Live / Format: Audio CDTracks: Disc 1:1. In the Kitchen 2. Help Me 3. Sleeping Peacefully 4. Mercy, Mercy, Mercy 5. Comfort Levels 6. Thankfully 7. Cafe & Beignets 8. Back at the Sugar Shack 9
By the New York Times bestselling author of The Bone Clocks and Cloud Atlas A gallery attendant at the Hermitage. A young jazz buff in Tokyo. A crooked British lawyer in Hong Kong. A disc jockey in Manhattan. A physicist in Ireland. An elderly woman running a tea shack in rural China. A cult-controlled terrorist in Okinawa. A musician in London. A transmigrating spirit in Mongolia. What is the common thread of coincidence or destiny that connects the lives of these nine souls in nine far-flung countries, stretching across the globe from east to west? What pattern do their linked fates form through time and space? A writer of pyrotechnic virtuosity and profound compassion, a mind to which nothing human is alien, David Mitchell spins genres, cultures, and ideas like gossamer threads around and through these nine linked stories. Many forces bind these lives, but at root all involve the same universal longing for connection and transcendence, an axis of commonality that leads in two directions-to creation and to destruction. In the end, as lives converge with a fearful symmetry, Ghostwritten comes full circle, to a point at which a familiar idea-that whether the planet is vast or small is merely a matter of perspective-strikes home with the force of a new revelation. It marks the debut of a writer of astonishing gifts.
The year is 1927, a time for bootleg gin, hot jazz, and sudden death. The place is New Orleans, a city that inters its dead above ground but keeps all its secrets deeply buried. Here native son and seasoned homicide cop Daman Rourke, a haunted widower also mourning the death of a fellow cop and close friend, walks into a crime scene of appalling bloodshed. On a hot summer night, inside a former slave shack on the St. Claire estate, reckless, womanizing attorney Charles St. Claire has been brutally stabbed to death. And in the elegantly appointed big house, a world-celebrated beauty stands covered in her husband´s blood, trying to hide the bruises on her face and professing her innocence. She is Remy Lelourie, Hollywood´s goddess, St. Claire´s wife, and the woman who once broke Rourke´s heart. Against all the visible evidence, Rourke embarks on a quest to prove Remy´s innocence, putting his own life and family in jeopardy, and finds himself slipping into the dark, hidden crevices of the city he thought he knew. 1. Language: English. Narrator: Theodore Bikel. Audio sample: http://samples.audible.de/bk/time/000193/bk_time_000193_sample.mp3. Digital audiobook in aax.
(2000/Arpeggio) Migration has played a key role in the blues, as America´s black population moved to urban centres seeking employment, many blues legends came with them. But New Orleans born William Dupree ventured further than most, num-bering Indiana, Chicago and Detroit among his ports of call before emigrating to Europe in 1959. He wouldn´t return home until 1990, two years before his death, but by that time he´d been acclaimed as one of the last surviving barrelhouse style piano players in the Crescent City style. Dupree was born in 1909 and followed in the footsteps of the legendary Louis Armstrong with an upbringing in the New Orleans Colored Waifs Home for Boys after his parents died in a racially motivated arson attack. Music became a way for the enterprising orphan to hustle a dollar or two, and he picked up his pounding piano style from local greats Willie Hall and Don Bowers. But though he moved to Chicago at the start of the 1930´s, he failed to break out of the club scene there and, after a short spell as a café pianist in Detroit, dedi-cated the rest of the decade to a career in the boxing ring. Hands that had previously caressed the ivories proved remarkably adept at decking oppo-nents, and ´Champion Jack´ Dupree, as he was professionally tagged reached the dizzy heights of lightweight champion of Indiana in a career whose fights totalled three figures. His music, though now a part time profession, had meanwhile matured under the early influence of Leroy Carr, whose laid back singing style he favoured, and his talents were recognised by noted producer Lester Melrose who cut him in Chicago, an album ´Dunker Blues 1940-41´ preserved the results of some of these early sessions. The stage was set for a musical renaissance. But the outbreak of war saw him conscripted into the US Navy and a spell as a Japanese prisoner of war added yet another (albeit unwanted) geographical diversion to his travels. Dupree´s musical career restarted in earnest in New York, where the fast growing rhythm and blues scene ensured that labels like King and Savoy were more than happy to cut him. The breakthrough came in 1955 when ´Walking The Blues´, a duet with Teddy ´Mr Bear´ McRae revisited here, reached number 6 in the R&B charts. After many diversions, Champion Jack was back on track.... The same year saw him play a New York session in June with former child star Little Willie John, whose life would end tragically in 1968 when he died in prison of pneumonia after taking a manslaughter rap. Our compilation contains two of only three tracks Jack and Willie would cut together: one of the songs, Titus Turner´s ´All Around The World´, would prove to be a top 10 pop hit for Willie that year and features backing here from Willis Jackson (tenor sax), Mickey Baker (guitar), Ivan Rolle (bass) and Calvin Shields (drums). The Groove and Vik monikers were further labels to add to Champion Jack´s blues baggage before, tiring of the racism he encountered in American society, he determined to take his talents to Europe. Audiences there were delighted to have a legend in their midst, and musicians from the ranks of Free, Chicken Shack and the Rolling Stones flocked to play with him and enjoy authenticity by association. Mickey Baker — present on the Dupree/Willie John sessions back in 1955, a hitmaker the following year with ´Love Is Strange´ and now resident of Paris — would also often be found accompanying Jack as he toured Europe extensively, making his home in Switzerland, England, Sweden and finally Germany. All Around The World´ indeed.... Dupree´s triumphant return home to play the New Orleans Jazz and Heritage Festival in 1990 led to a live album and a repeated booking. But further acclaim was cut short by his death in January 1992 in Hanover, Germany. Fats Domino was just one New Orleans piano man to have benefited from Dupree´s trailblazing example — indeed, one of his earliest recordings was a version of ´Junkers Blues´.
(1962 ´Delmark´) (35:53/12) The history of the blues has been so vaguely and haphazardly set down that it is difficult, if not impossible, to separate fact from legend. In the veiled and colorful world of the blues-singer this is true to such an extent that many bluesmen extend poetic license from their song lyrics into their everyday life. The story of John Adam Estes has especially been one clothed in the rich trappings of legend. For years, students of jazz and folk music have been listening to Sleepy John Estes records in awe of his unique singing style. They often were willing to pay premium prices for his old recordings on the Victor, Champion, Decca and Bluebird labels at a time when the only serious attention paid blues records was accorded those that featured accompaniments by noted jazz artists. When Big Bill Broonzy was interviewed by Yannick Bruynoghe for the book Big Bill´s Blues (Grove Press, New York), he recalled running away from home ´about 1912´ to work on the railroad just to hear John Estes howling the songs that lightened the workload of the sweating track-laying gangs. Broonzy´s reckoning of Estes´ age would credit the singer with more than 90 years, and this was later ´confirmed´ by Big Joe Williams and other elder bluesmen. When Big Joe informed me that Estes was still living on the outskirts of Brownsville, Tennessee, I naturally was skeptical. No doubt, the improbability of Estes´ being alive so many years after the alleged first brush with Broonzy kept folk researchers Sam Charters, Alan Lomax and Fred Ramsey, among others, from looking for him. Indeed, the legend was so strong that when the good news of the rediscovery of Sleepy John Estes was circulated incredulous letters arrived at Delmark´s offices from blues fans around the world. One English blues fan even registered his disbelief in print. But the legend has come to life. John Estes is not a forgotten man of the past - not a name on vintage record labels, but a flesh-and-blood reality still able to sing as well as ever, still writing blues poetry, and playing better guitar than in former years. A full biography of Sleepy John Estes cannot be presented here but his own lyric ´I was born in Lowry County--Schooled in Winfield Lane´ tells part of the story. The birth-year is 1904 so John is only 58 years of age today. At an early age John lost the sight of his right eye when a friend threw a rock at him during a baseball game. Perhaps this helped turn young Estes to music. At any rate, in 1929 he teamed with mandolinist Yank Rachel and was playing on a Memphis street-corner when he was approached by a Victor talent scout and cut his first recordings at the Hotel Peabody. Another session followed in 1930. The records were reasonably successful, but the depression brought location recording to an end. A few years later John learned that two friends had recorded for the ´new´ Decca label. He hopped a freight to Chicago and recorded six sides that established him as one of Decca´s most important country blues artists. After six years with Decca, John switched to Bluebird for his last shellac recordings in 1941. Besides his own vocals, John accompanied blues-singers Charlie Pickett, Son Bonds, Lee Brown, and teamed with Bonds to form the Delta Boys. Shellac rationing and the 1942-43 recording ban virtually ended ´race´ recording and Estes dropped out of sight In 1950, John was living in Memphis when he lost the sight of his remaining eye. He moved back to Brownsville and married. He now has five children and was living in an abandoned sharecropper´s shack near Brownsville when Chicagoan David Blumenthal found him while photographing a documentary film Citizen South--Citizen North (Blumenthal had heard about Estes from Memphis Slim who, in turn, had heard of John´s whereabouts from Big Joe Williams.) Blumenthal casually mentioned his find to Delmark Records and Estes was brought to Chicago for an exploratory recording session via concerts at Westminster College, the University of Illinois and Purdue University Ironically, John had been to Chicago only a few moments when he discovered that his brother Sam worked at a clothing store next door to Seymour´s Jazz Record Mart where Delmark had its offices John returned to Brownsville after some personal appearances in the Chicago area, to return in a few weeks with his harmonica accompanist of some 30-odd years, Hammie Nixon. Bassist Ed Wilkinson was added for the next recording session at the
Es ist der Konsens der meisten Musikhistoriker, dass die Ära des frühen Memphis vom Ende des Zweiten Weltkriegs bis etwa 1960 dauerte. Dies war die Zeit, als die Musiker des Mississippi-Deltas und des östlichen Arkansas nach Memphis zogen, um an der Übergangsmusik der Gegend teilzunehmen und sie zu spielen. Wir nennen diese Musik heute ´´Folk Jazz´´, ´´Rockabilly´´ und ´´Rock ´n´ Roll´´. Sam Phillips experimentierte mit ´´Howlin´ Wolf´´, ´´Rufus Thornas´´ und anderen und schnitt Elvis Presley, Johnny Cash, Jerry Lee Lewis, Roy Orbison und den Instrumentalisten Bill Justis, während Jim Stewart noch in seiner Garage aufnahm, und Bill Tanner Patentmedizin verkaufte. Dies war die Zeit, in der Stan Kessler, ein ehemaliges Mitglied der Sun Studio Rhythm Section und Songwriter von fünf frühen Elvis Songs, und von Sam the Sham´s ´Wooly Bully´ groß rausgekommen ist, Lust hatte, in den Echo and Sonic Studios zu Produzieren; Ray Harris experimentierte bei ´Hi Records´, und B.B. Cunningham, Sr. nahm bei ´Pepper´ auf. Das Produkt ihrer Experimente wurde kürzlich in den Regalen verschiedener Memphis-Aufnahmestudios entdeckt und von Music Shack, Inc. verpackt, um eine reizvolle Auswahl und Vielfalt dieses frühen Memphis-Sounds zu bieten.