Stöbern Sie durch unsere Angebote (35 Treffer)

Alice Stuart - Can´t Find No Heaven
€ 23.95 *
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(2002 ´Burnside´) (50:25/11) In den 38 Jahren, die zwischen ihrem ersten Album für Arhoolie und diesen Aufnahmen liegen, hat sich ihre Ausstrahlung kaum verändert. Sie begreift sich nach wie als ´Interpretin´, die bei Bedarf eigene Zeilen an ein Lied anfügt, und weniger als Singer/Songrwiter. Das musikalische Konzept jedoch ist neu. Heute läßt sie sich, die akustische und elektrische Gitarre spielt, von einer kleinen Band begleiten. Gute Fassungen von Songs, die ursprünglich von Skip James, Mance Lipscomb, Furry Lewis oder Fred McDowell stammen / thirtyeight years are gone since the recording of her first album for Arhoolie. Her fascination is still there. Sie regards herself as a song interpreter, rather than a songwriter. Sometimes she adds some of her own words. The music has changed, though. She palys electric and acoustic guitars, and on most tracks she´s accompanied by a small combo. Nice versions of songs originally written by pre-war bluesmen. ALICE STUART - gtrs/voc, with PAUL DeLAY - hca, TERRY ROBB - gtr, FRED CHALENOR - bass, KEVIN COOK - drums.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Carl Weathersby - In The House - Live At Lucern...
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(2002 ´CrossCut´) (57:18/10) Carl Weathersby ist eine Persönlickeit. Von furchteinflössender Statur repräsentiert er eine jüngere Generation im urbanen Blues Chicagos. Sein Stil kommt nicht von der Musik der Väter und Großväter. Sein Blues ist modern. Er liebt den rockenden Blues eines Luther Allison gleichermaßen wie den Soulgesang von Otis Clay. Weathersby besitzt das seltene Gespür für das gewisse Etwas. Ständig feilt er an seinem perönlichen Stil, einer Mischung aus knochenharten Blues-Elementen mit schreiender Gitarre und gefühlvollen Soulballaden. Diese Mischung prägt auch sein erstes Livealbum, aufgenommen im November 2002 beim Lucerne Blues Festival in der Schweiz. Getrieben von einem mächtigen Trio präsentiert Weathersby die Bandbreite seines Blues, von hart-krachend bis leise-weinend. Ein emotionales und dennoch kompromisslos-vorwärtspreschendes Album / Carl Weathersby hails from Chicago. His blues are modern. He´s not reproducing the blues of his ancestors. Like Luther Allison, he combines hard rocking blues and soulful vocals and arrangements. His blues are tuff, and his voice sounds so sweet. Carl is a master. He ranks amongst the best guitar players of today. His style is intensive, powerful and loud-screaming. It´s the unique combination of blues/rock and soul that makes his music so special. Supported by a great hard-working trio, Carl will take you on a trip through the modern styles of blues, not only in Chicago. CARL WEATHERSBY - gtr/voc, PAUL HENDRICKS - gtr, CALVIN ´SKIP´ GASKIN - bass, LEON SMITH - drums. Special guests: BILLY BRANCH - hca/voc, OTIS CLAY - voc.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Chas McDevitt - Skiffle - The Definitive Inside...
€ 69.95 *
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(1997/Robson Books) English, Hardback w.dustjacket/Gebunden mit Schutzumschlag, 17x24 cm, 294 pages, rare b&w illustrations. Foreword by Mark Knopfler and George Harrison. Few stock copies of the 1997 original version! Letzte Chance für die 850g schwere Originalversion. Skiffle is the first book in 40 years to document the rise and fall of the Skiffle craze that began in the 1950s. Written by one of the original ´Skiffle Kings´, it is a first-hand account of the Skiffle phenomenon from its formative days in jazz clubs and coffee bars to international acclaim in places such as the Royal Festival Hall and the Ed Sullivan Show. The origins of Skiffle lay in the music of the migrant workers of the 1920s and 30s who had left their homes in the southern states of America seeking work in the more affluent and less prejudiced cities of the north, such as New York, St Louis and Chicago. Carrying their musical heritage with them, whether it was the Mississippi blues, the work song or the barrelhouse ballad, a wealth of household `instruments´ augmented the ever-present guitar and piano, including the washboard, gut bucket or the tea chest bass. Yet it was Lonnie Donegan´s commercial success decades later with ´Rock Island Line´ that led to an explosion of interest in this forgotten sound. Since then, its influence has been profound as many leading musicians acknowledge in this book, including George Harrison, Mark Knopfler, Paul McCartney, Van Morrison and Hank Marvin. In this thoroughly comprehensive and extensively illustrated guide, Chas McDevitt tells the inside story of this musical phenomenon, tracing its development and remarkable impact on popular music.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Bud Isaacs - Bud´s Bounce (CD)
€ 15.95
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€ 13.95 *
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1-CD-Album mit 44-seitigem Booklet, 25 Einzeltitel. Spieldauer ca. 56 Minuten. Aufnahmen für RCA Records, entstanden zwischen 1954 und 1956. Isaacs führte die 1953 entwickelte Pedal Steel Guitar in die Country Music ein. Er spielte das Instrument auf Slowly von Webb Pierce, dem ersten Nummer-Eins Country-Hit mit einer Pedal Steel Guitar. Produziert von Chet Atkins. Über einen Zeitraum von zweieinhalb Jahren Nahm Bud Isaacs 24 Titel für RCA auf. Slowly war erst seit einer Woche in den Charts, als am 13.2.1954 Isaacs’ erste Aufnahmesession mit den damals besten Sessionmusikern aus Nashville, darunter Chet Atkins (Gitarre), Bob Moore (Bass) und Buddy Harmon (Schlagzeug) stattfand. Die Aufnahmen zeigen ein seinerzeit neues Instrument und Isaacs’ Virtuosität. Die 25 Aufnahmen auf dieser Zusammenstellung gelten als maßgeblich und beispielhaft für instrumentelle Virtuosität auf der Pedal Steel. Sie wurden ursprünglich auf acht Singles und einer EP veröffentlicht. Wahrlich wichtige Einspielungen, die jederzeit verfügbar bleiben sollten. Als Grundlage dienten Bear Family die Original-Quellen, Grundlage für den überragenden Sound dieser innovativen Instrumentals. Die Linernotes, eher eine Biografie über Bud Isaacs, hat Eddie Stubbs geschrieben.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Big George Jackson - Beggin´ Ain´t For Me (CD)
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(1997 ´Black & Tan´) (48:35/10) Big Georges zweites Album entstand in seiner Heimatstadt Minneapolis mit seiner eigenen Band, zu der u.a. der langjährige Gitarrist von R.J. Mischo gehört. Jackson ist ein grundsolider, traditioneller Harpspieler mit dunkler, rauchiger jedoch wenig wandlungsfähiger Stimme. Musikalisch äußerst rudimentär bezieht dieses Album seinen Reiz aus den simplen Sounds und Grooves, die schwer an die 50er Jahre erinnern. Ein schönes Album für alle Freunde eines konventionellen, gefühlvoll interpretierten Blues / Big George´s music is deeply rooted in ´50s Chicago style harmonica blues. He´s a solid player; his vocals are simpel, deep and smoky. The material is mostly original, and he was using his regular band which is featuring long-time R.J.Mischo associate J.J. on guitar. Well-performed traditional style amplified harmonica blues and ´50s style backing. BIG GEORGE JACKSON - hca/&voc, JEREMY JOHNSON - gtr, JOHN SCHRODER - bass, DWIGHT DARIO - drums. Special guest: PHIL SCHMID - gtr.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Zora Young - Learned My Lesson
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(2000 ´Delmark´) (68:48/14) Gutes neues Album der starken Sängerin, die sich diesmal neben klassischen Bluesthemen z.B. auch ´Nutbush City Limits´, bekannt von Tina Turner, vorgenommen hat / fine new effort from this powerful singer. Besides her classic Chicago style blues you´ll also find songs like ´Nutbush City Limits´. ZORA YOUNG - voc, JAMES WHEELER - gtr, DANNY DREHER - gtr, KEN SAYDAK - pno, JOHNNY B. GAYDEN - bass, TIM AUSTIN - drums. Learned My Lesson is the celebration of Zora Young´s lifelong love affair with the blues.This is Zora´s first album on an established American label which is surprising since she is one of the most creative blues singers in Chicago. Zora was born in West Point, Mississippi and raised in Chicago where she grew up singing gospel music in a south side church. After years in the R&B ´´chittlin circuit´´, she switched to blues and since then has shared the stage with B.B. and Albert King, played the Chicago Blues Festival many times and tours Europe regularly. Zora´s voice ranges from a melancholy whisper to a rock ´n´ roll scream, and she will have you in her corner with one listen. With this album Zora Young has finally arrived to claim her rightful place as a contemporary blues powerhouse.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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JW-Jones Blues Band - Kissing In 29 Days
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(2005 ´Northern Blues´) (68:25/14) Auf seinem vierten Album für CrossCut begibt sich JW-Jones auf eine Zeitreise zu den Tagen des Kansas City Swing und auf die Central Avenue in Los Angeles, wo Bluesshouter vor mächtigen Bands standen und die Grenze zwischen Jazz und Blues verschwimmen ließen. JW nimmt die Musik dieser Ära und haucht ihr neues junges Leben ein. Der 25-jährige Kanadier spielte Schlagzeug, bis er 1995 ein B.B. King Konzert besuchte und danach einen Crash-Kurs in Bluesgitarre absolvierte. Begierlich sog er die Musik der großen Meister auf. Er studierte die Stile der drei Kings (Albert, B.B. und Freddie) und lernte von T-Bone Walker und Robert Jr. Lockwood. Heute ist JW auf der Suche nach dem eigenen Sound, den er zusammen mit Saxophonist James Asselin entwickelt. Seit drei Jahren arbeiten die beiden jungen Kanadier zusammen und versuchen, die Atmosphäre jener vergangenen Zeiten neu aufleben zu lassen. Die Entwicklung des JW ist auch an seiner Stimme ´ablesbar´. In den letzten beiden Jahren hat sich JW mit den großen Bluessängern der 40er und 50er Jahre, wie Little Milton, Roy Brown, B.B. King oder Wynonie Harris, beschäftigt und gelernt, deren Phrasierungen zu verstehen. Und schließlich gibt es mit David ´Fathead´ Newman einen Gast auf diesem Album, der als langjähriger Partner von Ray Charles die Geschichte afro-amerikanischer Musik mit geschrieben hat. Spätestens mit dieser CD hat sich JW freigeschwommen und mit seinem absolut zeitgemäßen Mix aus Tradition und Moderne seine eigene musikalische Sprache gefunden. Die Verquickung von R&B und Blues der frühen elektrischen Jahre mit den Sounds von heute, mit der Aggressivität des Rocks der Sechziger und dem Lebensgefühl seiner Generation lässt ihn aus der Masse seiner Altersgenossen, die über das Stadium der Imitation selten hinaus kommen, heraus ragen. (8-seitiges Digipak) / ´Kissing In 29 Ways´ is JW-Jones´ fourth album on CrossCut. It´s a time travel back to the heydays of Kansas City swing, and Central Avenue blues and r&b in Los Angeles. JW is taking you back to those days where blues shouters were fronting mighty bands, and where the borders between jazz and blues became blurred. JW absorbed the music of the era to revitalize rhythm´n´blues. The 25-year-old Canadian was a drummer until he attended a B.B. King concert in 1995. With this experience in mind, he started a crash course in blues guitar and began to learn playing the music of the masters. He studied the styles of the three Kings in blues (Albert, B.B. and Freddie) and learned from recordings by T-Bone Walker and Robert Jr. Lockwood. These days, JW continues to develop his personal sound, along with saxophone player James Asselin. Over the past three years, the two young Canadians have been working together. It is their common goal to recreate the atmosphere of long ago. JW´s recent artistic growth is also audible when listening to his singing. In the past two years JW has learend from the great blues vocalists of the 1940s, and ´50s. The original phrasings of singers like Little Milton, Roy Brown or Wynonie Harris come to mind. And finally, the special guest on this albumdeserves attention in particular. Tenor sax player David ´Fathead´ Newman has co-written part of the history of African-American music himself. He was a long-time and very valuable member of the Ray Charles band. Latest with ´Kissing In 29 Ways´, with his mixture of tradition and modern spirits, JW-Jones has found his own personal expression in contemporary blues. The amalgamation of r&b and blues of the early days with today´s sounds, the inclusion of 1960s style rock music and the attitude to life of his generation makes him one of the few outstanding blues musicians of his age group, in Canada. His music sounds original whereas many of his contemporaries sound like pale imitators. (Digipak) JW-JONES - gtr/voc, GEOFF DAYE pno/org, NATAHN MORRIS - bass, ARTIE MAKRIS - drums, plus horns. Special guest: DAVID ´FATHEAD´ NEWMAN - tenor sax.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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Jimmie Lee Robinson - Lonely Traveller
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(1992/93 ´Delmark´) (59:49/13) Ein kleines Juwel, ein Album, wie sie kaum noch produziert werden: mit minimalem Aufwand ein Super-Resultat erzielt! Jimmie Lee zählt zu den verdienten Veteranen der Chicagoer Szene. Diese CD entstand ganz im Geiste des Blues der 50er Jahre, kleine Besetzung und ein Frontman, der die Richtung bestimmt. Ein sehr emotionales ´richtiges´ Bluesalbum. Mein persönlicher Tip / a beautiful recording strictly ´50s Chicago style blues, recorded without a bass, but with two guitars. A very moving, emotional album. Set like these are not recorded very often any more. He died July 06, 2002. JIMMIE LEE ROBINSON - guitar/vocals, SCOTT DIRKS - hca, JOHNNY BURGIN - gtr, STEVE CUSHING - drums. Jimmie Lee´s style of playing transcends standard 12-bar blues, going beyond its simple formula, traversing numerous musical genres. His repertoire spans the boundaries of early American music such as folk, ragtime and country. The tunes range from standard blues, both slow and jump, through ragtime, to a haunting ballad. His guitar solos are not searing modern day blues solos, but bright sparks of pure musical genius. He is strong at points where strength is needed and provides subtle, smooth cording where only a master songster and musician can feel the touch of soulful tenderness.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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FILLMORE SLIM - The Game
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(2004 ´Mountain Top´) (58:37/12) Schade, dass es nicht mehr neue Bluesalben von dieser Klasse gibt. Das meine ich nicht in bezug auf die Soundqualität. Die ist gerade mal Durchschnitt. Ich meine die Musik. Funky, dreckig - Musik der Strasse mit gelegentlichen Rap-Einlagen, funky Grooves und Texten, die nichts beschönigen. Der ehemalige Zuhälter beschreibt das Leben abseits der weißen Vororte - seine Blues sind nicht sentimental, sie sind vorwärts gerichtet und sprühen vor Kraft. Dazu Musiker, die wissen, was sie spielen. Herrausragend / Too bad there aren´t many more releases of that quality. I am not talking about sound quality which actually is pretty average. I´m talking about the music. Funky, dirty blues. Blues from the streets with rap-vocals, here and there. Lyrics telling the truth. Slim used to be a pimp, and he doesn´t describe life in white middle-class suburbs. His blues ain´t sentimental. His blues are looking forward and bursting with strength. Also: here you´ll find musicians that know what to play. Outstanding! FILLMORE SLIM (CLARENCE SIMS) - voc, FRANK STICK-EM (his son) - rap-vocals, FRANK GOLDWASSER - gtr/bass, RUSTY ZINN - gtr, LEONARD GIL - gtr/bass, JOHN HAINES - drums. Special guests: RICHARD YOUNGER - kbds, GARY SMITH - hca, plus horns.

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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James Wheeler - Ready!
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(1997 ´Delmark´) (66:54/13) Erstes Soloalbum des ´37 geborenen Wheeler, der in der 80ern bei Otis Rush spielte und am besten als Gitarrist von Mississippi Heat bekannt ist. Er ist ein passabler Sänger, vor allem auf den ruhigen Nummern und spielt einen flüssigen Stil mit einem warmen Ton, der manchmal an B.B. King erinnert. Ein schönes, eher zurückhaltendes Album / born in ´37 this is Wheeler´s first solo record. Long-time member of both, Otis Rush´s band and Mississippi Heat, he now steps out on his own. His vocals sound rather shy, but his playing is sensible and fiery at the same time, sometimes reminding me of B.B. King. A fine, rather reserved album. JAMES WHEELER - gtr/voc, BILLY FLYNN - gtr, KEN SAYDAK - pno, BOB STROGER - bass, VERNON RODGERS - drums. JAMES WHEELER is a quiet man. One of those types who has been putting in decades of work backing other musicians while shying away from the spotlight himself. After forty plus years James Wheeler is finally ready. James Wheeler was born in Albany, Georgia on August 28, 1937. Wheeler didn´t follow the usual path of listening to the blues and picking up a guitar as a youngster. His favorite music as a youth was the big band sounds popular in the day. Folks like Joe Stafford, Glenn Miller and Duke Ellington. ´I like to tell people that I came in at the college level and down to the starters level. That was the sound that I had to listen to. Louis Jordan was my main man. He was my idol for a long time.´ Wheeler never even played an instrument until he moved to Chicago in 1956. Nineteen and ready for a change in life, James Wheeler headed north to join his older brother Golden Wheeler in Chicago. Golden had come to Chicago a decade earlier and got caught up in the sounds of the city. He was fascinated with the sound of the harmonica and after Little Waiter befriended him he began to learn to play. As soon as little brother James arrived in Chicago he was thrust into the sounds of the blues. Golden was playing with Waiter Smith, Donald Griffin and Johnny Swan at the time, and occasionally jamming with Eddie King and harp player Willie Black. James began to thump around on the guitar when hanging out with the gang, and eventually picked up an old Harmony acoustic guitar with a pick-up in it. James began to see bluesmen like Howlin´ Wolf and Freddie King playing in the clubs, and his interest peaked. By the early 1960s Wheeler was jamming regularly on the West Side and landed a steady gig with Billy Boy Arnold at the Club Arden. In 1963 Wheeler decided to form his own band. The Jaguars consisted of Wheeler on guitar, bass player/vocalist Johnny Howard and drummer Sam Burden. The band cut their teeth at the King James Club on 111th St., but their first big break came when they filled in for Syl Johnson at the Just Me Lounge at 59th and Morgan. This gig opened the doors to various house band stints including stays at the Bonanza, Just Me Lounge, Payton Place and the Burning Spear. During the next ten years, Wheeler played behind blues greats like McKinley Mitchell, B.B. King, Millie Jackson, Otis Clay and O.V. Wright. After The Jaguars broke up in 1972, Wheeler was enlisted to form Otis Clay´s touring band, the OCB´s. He stayed with Clay for the next three years and in 1975 went on tour with the Impressions. For the next decade Wheeler held a day job and only played on the weekends with guitarist Buddy Scott. Wheeler´s next break came in 1986. ´One evening when I got home my brother called and said some people had been trying to find me. I asked who it was and he said Otis Rush. So I got in touch with him and he said: `Look I´ve got to go into the (Kingston) Mines this weekend and need a guitar player.´ So I said `O.K. Just for that weekend,´ you know. Little did I know it would last for 7 years.´ It was Rush that encouraged Wheeler to start singing and made a spot for him singing in his show. Wheeler left Rush in 1993 to join the band Mississippi Heat and made three records with them. Lately, Wheeler has done a stint with Magic Slim and currently works in Willie Kent´s band. Ready! finds Wheeler out front and on his own for the first time. With a little help from a few old friends. Wheeler shows his mastery of a variety of blues styles. After forty years as a sideman it´s about damn time James Wheeler stepped out front. One thing´s for sure, he´s ready. [Quotes from an interview with James Wheeler on February 7, 1998.]

Anbieter: Bear Family Recor...
Stand: Feb 19, 2019
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