"Let's Pull A Party" Lightnin' Hopkins
The great Texas bluesman Lightnin' Hopkins, under the watchful eye of a very young Joan Baez, performs "Let's Pull a Party." From the DVD "Texas Blues Guitar."
Showing posts with label Blues Education. Show all posts
The great Texas bluesman Lightnin' Hopkins, under the watchful eye of a very young Joan Baez, performs "Let's Pull a Party." From the DVD "Texas Blues Guitar."
New E-Book - The Language Of The Blues: From Alcorub To Zuzu
The Language of the Blues opens with a hilarious foreword by Dr. John, who helped Devi uncover the illegal gambling origins of terms like “gig” and “axe.” The book is packed with wild stories from her interviews with blues legends like Dr. John, Robert Jr. Lockwood, Hubert Sumlin, Henry Gray, Milton Campbell, Smiley Ricks, Jody Williams, Bob Margolin, Jimmie Vaughan, Robben Ford and Bonnie Raitt. “As a musician myself, not a scholar,” Devi explains, “I thought I could best make a contribution by talking directly to artists about what the words in blues songs mean to them."
She combines her interviews with research into African language, voodoo culture and oral histories. But "don't think The Language of the Blues reads like a reference book,” says former Muddy Waters guitarist Bob Margolin, “you can open it at random and fall into the world of your favorite Blues songs. I learned a lot more about the Blues music I already loved."
The Language of the Blues was first published by Billboard Books. It received the ASCAP Deems Taylor Award in 2008, yet disappeared from stores during a merger. Since her book’s successful eBook release March 2012 by Guitar International, Devi has become a Huffington Post blogger on the blues. Blues Revue deems The Language of the Blues “an essential purchase for scholars and fans.” New York Times columnist Shelton Ivany adds, “If you have any questions about songs, lyrics, musicians or events, chances are you will find your answers in this unparalleled publication.”
Saying Goodbye To David Honeyboy Edwards - A Personal Journey
By Suzanne Swanson
A hushed reverence and a welcome rush of cool air met us as we entered the McCullough Funeral Home, on E. 75th Street, in South Side Chicago. The temperatures were unseasonably hot. For days, it seemed, the city had been gripped by heat and humidity of the upper 90’s that first day of September 2011. A few family members were already seated at the front of the large, oblong room that comprised the area that would be our center point for celebration and grief for the next two days.
There was our beloved David ‘Honeyboy’ Edwards lying in an open, deep wine/brown coffin, presiding over all of us. Six large floral sprays stood guard. On the coffin, a beautiful wide bouquet of six dozen deep red roses served as a token of love from his immediate family. A smaller garland of similar red roses sat near Honeyboy’s head with a gold banner proclaiming it was from his grandchildren. There, dressed in a beautiful dark purple suit, bright red tie and matching pocket puff, was the “Last of the Great Mississippi Delta Bluesmen” , Mr. David ‘Honeyboy’ Edwards.
Honeyboy was ninety-six years young when he lay back on his bed for the last time in the early hours of Monday, August 29th, 2011. His birthday had been June 28th, putting him in his ninety-seventh year.
Drawing close, I saw a jaunty fedora angled over his head, color coordinating perfectly to his suit. As I gazed upon the frail form, my eyes filled with tears. Here was a friend who had touched my heart in a profound way!
I had flown seventeen hundred and eighty odd miles to honour this great musician because he had shared a small part of his life with me. He had spoken words of wisdom to me. He had taken an interest in me when his business manager and musical partner, Michael Frank, CEO of Earwig Music Co. Inc., had commissioned me to take photographs for a product release on the Earwig record label.
The connections went back to 1980 actually when the Blues Professor, Eddie Lusk, the Hammond B-3 bandleader, and guitarist, Phil Guy, (younger brother of Buddy Guy), became life-long friends of mine. They are both gone now but I treasure the unconditional friendships that we shared. Because the blues music community across North America is a tight, interwoven group, particularity in Chicago, where these musicians lived, I was given the gift of becoming part of their ‘extended family’. My years as a musician and professional concert photographer placed me in the flow of being able to promote and assist these remarkable artists whenever we were in the same town or on tour.
However, life’s circumstances had prevented me from attending the funerals of The Professor and Phil. This time, I was able to honour and show my deep respect. It would become a three-fold tribute, an important closure to members of my ‘family of choice’.
As I stood silently weeping, my thoughts rushed back to the short tours I had been on with Honeyboy, Michael Frank, Les Copeland, Jerry Zybach, Curtis Salgado, The Tommy Castro Band, John Primer, Bob Stroger, Bob Corritore, Chris James, Patrick Rynn, Johnny Drummer, Grady Champion Band, and others.
What a joy it had been to listen to Honeyboy share his distinctive Mississippi Delta music, his recollections of life going back to age five (he told me), and his sage advice on living a fulfilled and satisfying life. In all my years in the music industry, I have never witnessed any other performer go to the extremes to be so gracious or accommodating to his audiences and fans. Others have learned from this example, two bands immediately come to mind being the members of Foghat and Ten Years After. No matter what the venue, Honeyboy would take the time after a gig to sit, pose for photographs, sign the CD products or DVD’s that would be sold, the posters, memorabilia brought forward, personal guitars, and chat in a private manner, touching his adoring fans throughout the world.
This senior statesman of the Delta Blues was generous to a fault of his time spent reaching the minds and hearts of countless millions of individuals over the course of his life. He championed educating children in the Chicago school system about the blues music that he dearly loved. I have listened to many musicians who played with him share stories of how he patiently encouraged them or would test their proficiency by changing up a tune or two to see if they were listening and attentive.
He gave us all so much.
There will never be a musician who will quite fill his shoes.
The visitation at the funeral home began at 2 PM, on the first day of September. A steady stream of devoted family and friends came to say their farewells, and show their respect for this great man. The pews were filled to capacity and overflowed into the foyer and out the front door.
At seven o’clock, Michael Frank, took the podium to welcome everyone. Before encouraging those that wished to share their memories of Honeyboy he gave an honouring recollection of his over thirty-five years association as a friend, business manager, music colleague, record label producer, and “Mutt and Jeff” relationship. Choking back tears at moments of melancholy memories in preparing breakfasts for Honeyboy when they were on the road… to how ‘Honeyboy’ got his name… to humorous chuckles of stories of how the former residents of Shaw, Mississippi, took care of each other in Chicago if trouble broke out in a bar room situation… to how Honeyboy would tease Michael’s extend belly by calling it a ‘Possum Pocket’; Michael expressed his love for his deceased friend. Memories of 252 N. Princess and 43rd. (Honeyboy’s early Chicago home) were remembered. Accounts of how folks came to listen to Honeyboy practice his guitar were peppered with tales of Mississippi connections that were always welcomed warmly when they were received into his home.
Honeyboy and Michael travelled the world together. He would accommodate Michael on giving interviews. He disliked being asked about Robert Johnson and would tell Michael, “Quit asking me!”, when a request was presented to him. To discourage Michael from asking, Honeyboy would put his foot down and say, “What is in it for me?”
Michael wistfully turned and addressed the body of Honeyboy, “No more interviews,” his voice sobbed. “I’ll do them now, Honeyboy. You don’t have to give another interview.”
Then family and friends took their solemn turns at the microphone so they could share their admiration and memories. Daughter, T-Baby, spoke about many visits with her father to Buddy Guy’s Legends, and the way he teased her about eating the chicken dinner. Fruitland Jackson, remembered times playing acoustic sets at Rosa’s, and how he learned so much over the years. Niece, Sharleen, tearfully recounted Honeyboy buying her a stove and two chairs. Each, in succession shared a poignant story, Victor Wallace, Jacqueline Edwards, Dauphine, along with Lynn from the National Academy of Recording Arts & Sciences. Lynn Orman Weiss, disclosed that Honeyboy loved beautiful women and was happy to be photographed with two daughters of country music legend, Loretta Lynn. Daughter Joanne came forward, Jimmy Jenkins – who voiced of being a ‘roady’ for the night that Honeyboy played the Lincoln Centre. Delores Scott, Cookie Taylor, as well as stories of the late Willie Dixon’s “Blues Heaven” organization were touched upon with deference. Doug MacLeod spoke of playing at the Palmer House, where Honey boy taught him that your personality comes out in your right hand when you play, and that you have to reach out to the people. Doug also recounted a tale about Honeyboy instructing Doug’s wife, Patty, on the finer points of loaded dice, to much chuckling and nodding heads. Remarks were shared from Johnny Drummer, Rick ‘Cookin’ Sherry saying that Honeyboy was truly an “Ambassador of the World”, and Jeff Dale repeating the advice he was always given, “Know the timing. You have to have a sense of time when you play”. Amanda Gresham, as well as Lynn Orman Weiss spoke softly and lovingly while sharing anecdotes. I was able to remind the assembly what a gift Honeyboy was to all of us who came in contact with him. “He inspired us to be better as human beings”. Steve Azzato, a photojournalist, as well as Michael Dyson, of the Blue Shoe Project, imparted their personal tributes in most touching ways.
We all sat spellbound in our sorrow as family members closed the program and Michael Frank once again turned to Honeyboy’s coffin addressing him with a catch in his throat, “You’re always looking for that note on the neck”.
Yes, we all are looking for that special “note”! That special individual who shines the second they walk into a room. David “Honeyboy” Edwards was that person. He was a gift to the world who taught us much about life, music, how to treat and respect your fellow man, but most of all he taught us how to be better at what we do, no matter what it is. Thank you, my friend, for your music, words, and writing which will continue to be with us. Thank you, for teaching us how to be true to our path. You will live long after in our hearts and minds and that is the most precious gift of all.
©Copyright Suzanne Swanson 2012
Suzanne is a fabulous music journalist and photographer who has a passion for the Blues. She continues to interview and photograph Blues Artists on tour from her home near Vancouver, British Columbia. Suzanne is an active member of The Blues Foundation, the White Rock Blues Society, the Washington Blues Society, and the Vancouver Musicians' Association Local 145. Ms. Swanson worked for MCA Records in its halcyon days of the '70s as one of its staff photographers, where she captured blues musicians in their element in North American, the Continent, and beyond.
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| Photo By Suzanne Swanson |
There was our beloved David ‘Honeyboy’ Edwards lying in an open, deep wine/brown coffin, presiding over all of us. Six large floral sprays stood guard. On the coffin, a beautiful wide bouquet of six dozen deep red roses served as a token of love from his immediate family. A smaller garland of similar red roses sat near Honeyboy’s head with a gold banner proclaiming it was from his grandchildren. There, dressed in a beautiful dark purple suit, bright red tie and matching pocket puff, was the “Last of the Great Mississippi Delta Bluesmen” , Mr. David ‘Honeyboy’ Edwards.
 |
| Photo By Suzanne Swanson |
Drawing close, I saw a jaunty fedora angled over his head, color coordinating perfectly to his suit. As I gazed upon the frail form, my eyes filled with tears. Here was a friend who had touched my heart in a profound way!
I had flown seventeen hundred and eighty odd miles to honour this great musician because he had shared a small part of his life with me. He had spoken words of wisdom to me. He had taken an interest in me when his business manager and musical partner, Michael Frank, CEO of Earwig Music Co. Inc., had commissioned me to take photographs for a product release on the Earwig record label.
 |
| Mr. David Honeyboy Edwards & Suzanne Swanson, on the road, Nov. 2010 |
However, life’s circumstances had prevented me from attending the funerals of The Professor and Phil. This time, I was able to honour and show my deep respect. It would become a three-fold tribute, an important closure to members of my ‘family of choice’.
As I stood silently weeping, my thoughts rushed back to the short tours I had been on with Honeyboy, Michael Frank, Les Copeland, Jerry Zybach, Curtis Salgado, The Tommy Castro Band, John Primer, Bob Stroger, Bob Corritore, Chris James, Patrick Rynn, Johnny Drummer, Grady Champion Band, and others.
What a joy it had been to listen to Honeyboy share his distinctive Mississippi Delta music, his recollections of life going back to age five (he told me), and his sage advice on living a fulfilled and satisfying life. In all my years in the music industry, I have never witnessed any other performer go to the extremes to be so gracious or accommodating to his audiences and fans. Others have learned from this example, two bands immediately come to mind being the members of Foghat and Ten Years After. No matter what the venue, Honeyboy would take the time after a gig to sit, pose for photographs, sign the CD products or DVD’s that would be sold, the posters, memorabilia brought forward, personal guitars, and chat in a private manner, touching his adoring fans throughout the world. This senior statesman of the Delta Blues was generous to a fault of his time spent reaching the minds and hearts of countless millions of individuals over the course of his life. He championed educating children in the Chicago school system about the blues music that he dearly loved. I have listened to many musicians who played with him share stories of how he patiently encouraged them or would test their proficiency by changing up a tune or two to see if they were listening and attentive.
He gave us all so much.
There will never be a musician who will quite fill his shoes.
 |
| Photo By Suzanne Swanson |
At seven o’clock, Michael Frank, took the podium to welcome everyone. Before encouraging those that wished to share their memories of Honeyboy he gave an honouring recollection of his over thirty-five years association as a friend, business manager, music colleague, record label producer, and “Mutt and Jeff” relationship. Choking back tears at moments of melancholy memories in preparing breakfasts for Honeyboy when they were on the road… to how ‘Honeyboy’ got his name… to humorous chuckles of stories of how the former residents of Shaw, Mississippi, took care of each other in Chicago if trouble broke out in a bar room situation… to how Honeyboy would tease Michael’s extend belly by calling it a ‘Possum Pocket’; Michael expressed his love for his deceased friend. Memories of 252 N. Princess and 43rd. (Honeyboy’s early Chicago home) were remembered. Accounts of how folks came to listen to Honeyboy practice his guitar were peppered with tales of Mississippi connections that were always welcomed warmly when they were received into his home.
Honeyboy and Michael travelled the world together. He would accommodate Michael on giving interviews. He disliked being asked about Robert Johnson and would tell Michael, “Quit asking me!”, when a request was presented to him. To discourage Michael from asking, Honeyboy would put his foot down and say, “What is in it for me?” Michael wistfully turned and addressed the body of Honeyboy, “No more interviews,” his voice sobbed. “I’ll do them now, Honeyboy. You don’t have to give another interview.”
Then family and friends took their solemn turns at the microphone so they could share their admiration and memories. Daughter, T-Baby, spoke about many visits with her father to Buddy Guy’s Legends, and the way he teased her about eating the chicken dinner. Fruitland Jackson, remembered times playing acoustic sets at Rosa’s, and how he learned so much over the years. Niece, Sharleen, tearfully recounted Honeyboy buying her a stove and two chairs. Each, in succession shared a poignant story, Victor Wallace, Jacqueline Edwards, Dauphine, along with Lynn from the National Academy of Recording Arts & Sciences. Lynn Orman Weiss, disclosed that Honeyboy loved beautiful women and was happy to be photographed with two daughters of country music legend, Loretta Lynn. Daughter Joanne came forward, Jimmy Jenkins – who voiced of being a ‘roady’ for the night that Honeyboy played the Lincoln Centre. Delores Scott, Cookie Taylor, as well as stories of the late Willie Dixon’s “Blues Heaven” organization were touched upon with deference. Doug MacLeod spoke of playing at the Palmer House, where Honey boy taught him that your personality comes out in your right hand when you play, and that you have to reach out to the people. Doug also recounted a tale about Honeyboy instructing Doug’s wife, Patty, on the finer points of loaded dice, to much chuckling and nodding heads. Remarks were shared from Johnny Drummer, Rick ‘Cookin’ Sherry saying that Honeyboy was truly an “Ambassador of the World”, and Jeff Dale repeating the advice he was always given, “Know the timing. You have to have a sense of time when you play”. Amanda Gresham, as well as Lynn Orman Weiss spoke softly and lovingly while sharing anecdotes. I was able to remind the assembly what a gift Honeyboy was to all of us who came in contact with him. “He inspired us to be better as human beings”. Steve Azzato, a photojournalist, as well as Michael Dyson, of the Blue Shoe Project, imparted their personal tributes in most touching ways.
We all sat spellbound in our sorrow as family members closed the program and Michael Frank once again turned to Honeyboy’s coffin addressing him with a catch in his throat, “You’re always looking for that note on the neck”.
©Copyright Suzanne Swanson 2012
RIP Johnny Otis - December 28, 1921 to January 17, 2012
By Bob Corritore
In the 1960's Johnny served as Deputy Chief of Staff to Mervin Dymally, whose career he followed from the State Assembly, State Senate, Lieutenant Governorship of California, to the U.S. Congress. His first book "Listen To The Lambs", which addressed the 1965 race riots was published in 1968. His next book, "Upside Your Head! Rhythm & Blues on Central Avenue" was published in 1993. Many of his paintings, sculptures, and wood carvings are displayed in "Colors and Chords - The Art of Johnny Otis" which was published in 1995. His most recent book, "Johnny Otis - Red Beans & Rice and Other Rock 'n' Roll Recipes" was published in 1997.
Johnny Otis's song writing credits include "Every Beat of My Heart", (a song he wrote originally for Jackie Wilson, but was made a hit by Gladys Knight and the Pips), "Roll With Me Henry", (also known as "The Wallflower"), "So Fine", "Willie And The Hand Jive" (which sold over 1.5 million copies), and many, many others.Johnny has been inducted into the Rhythm & Blues Hall of Fame, into the Blues Hall of Fame and into the Rock & Roll Hall of Fame. The Archives of African American Music and Culture at the University of Indiana has cataloged hundreds of hours of his past radio shows for his interviews, comments, insights, and historical significance.
He has remained active in his recording studio and has put out 6 CD's on his label since the mid-nineties."
Some great clips:
Johnny Otis singing "Willie And The Hand Jive" http://www.youtube.com/watch?v=qOrQTh_Cq7U
Johnny with Little Esther Phillips performing "Misery" http://www.youtube.com/watch?v=0WNkoABY63w
Johnny with Roy Buchannan performing "Bye Bye Baby" http://www.youtube.com/watch?v=icwUx_xGPXg Johnny Otis "Harlem Nocturne" http://www.youtube.com/watch?v=3bYPnfXXUp4
Pinetop Perkins Foundation Youth Workshop Series For 2012
nonprofit organization Harmonikids, he has provided music therapy and harmonicas to many thousands of children around the world with a wide range of physical, emotional, and/or economic disadvantages.
"Bob Margolin's deep passion, knowledge and incredible ability to play Delta style blues guitar coupled with the accommodations in Clarksdale, make this workshop unlike any musical experience I have ever had," says past workshop attendee John Sillaman.
Dara Bigger, a parent of a previous attendee, adds: "The workshop was a great opportunity for my kids! They expanded their musical horizons, learned new ways to play the blues and gained a greater appreciation for the stories behind the blues." Further information, or to register for the workshops; please visit the Pinetop Perkins Foundation website at www.pinetopperkinsfoundation.org/masterclass12.html.
RIP Willie "Big Eyes" Smith - Jan 19, 1936 to Sept 16th, 2011
By Bob Corritore
It is with great sadness that we report the unexpected passing of one the true greats of the blues. Willie "Big Eyes" Smith. Willie passed away this morning of a stroke. He was 75 and was musically active until the very end. A brilliant drummer, harmonica player and vocalist, he represented the true essence of Chicago Blues, and was highly regarded by all as an undisputed master. He was an alumni of the Muddy Waters band and wore those stripes with honor.
Willie "Big Eyes" Smith was born in Helena, Arkansas in 1936, and started playing harmonica at age 17, shortly after moving to Chicago. His harmonica first appeared on record in the 1950s gracing recordings by Arthur "Big Boy" Spires, and Bo Diddley (Willie played the harmonica on the Diddley classic "Diddy Wah Diddy"). At some point in the mid to late 1950s he started playing drums and in 1959 began his long association with Muddy Waters. Smith's drumming first appeared on record on Muddy Waters' 1960 album release of Sings Big Bill Broonzy. Smith had a real gift for drumming and his playing would help to define the later Muddy Waters Band sound. Many of us remember the classic Muddy Waters lineup of Muddy, Willie, Pinetop Perkins, Bob Margolin, Luther "Guitar Junior" Johnson, and Calvin "Fuzz" Jones. In June of 1980 members of Muddy's band struck out on there own, and formed the Legendary Blues Band which eventually found Willie as the lead vocalist, showcasing his stellar, down-home vocals. Willie released his first solo album, Bag Full of Blues in 1995, which firmly established him as an artist in his own right. Willie would revive his first instrument in later years, and in 1996 he would release Way Back, which debuted his new direction, and showed him to be a solid harmonicist.
His final recording, Joined At The Hip was a collaboration with the now deceased Pinetop Perkins, and it it earned the two a Grammy in the Traditional Blues category. We have just touched upon a few of the many recordings of Willie "Big Eyes" Smith who's discography as both a frontman, and a sideman represents the highest of heights in the blues. Willie had a strong work ethic and was a consummate professional, and as a result he worked relentlessly. He won numerous BMAs (Blues Music Awards) as "Best Blues Drummer", and he always carried great bands with him. Of note is the wonderful management of Patricia Morgan, who helped guide the later part of Willie's amazing career, and the impressive booking of Blue Mountain Artists. Also thanks to Willie for bringing out the wonderful talent in his band with Jimmy Mayes, Bob Stroger, "Little" Frank Krakowski, and for his wonderful collaborations with other Muddy alums. Willie leaves his greatest legacy with his son Kenny "Beedy Eyes" Smith, who has become one of the world's greatest blues drummers and carries on his father's sound and tradition.
Prayers for all of Willie's family, friends, fellow musicians, and fans as we say goodbye to one of the greatest blessings of the blues. We love you "Big Eyes." To visit Willie "Big Eyes" Smith's website click http://www.williebigeyessmith.com/. Funeral information to follow.
Zydeco at the Highway 99
By Robert Horn
The early Zydeco bands and the current ones knew each other. Many had some of the same relatives. Many Zydeco bands, like Dicki Du and the Zydeco Krewe, have a lead singer who will introduce the band as “Little brother… Uncle…Cousin,…” and they are literally telling the truth about how they started the band. Oh, Dicki’s real name is Troy Carrier. Those who know a little about Zydeco may be familiar with that last name (the name Carrier is royalty in Zydeco). Troy Carrier played with his father's band and his father had played with Clifton Chenier. The Chenier name is another famous name in Zydeco.
On Friday, July 22nd a great Louisiana Zydeco band performed at the 99. Dicki Du and the Zydeco Krewe used as much energy on stage and the dancers did on the dance floor. The spoons and washboard player “Peanut” is the energizer bunny and I got worn out watching him. They have a guitar player (the uncle of “Dicki”) who plays blues riffs on his Stratocaster as well as a Chicago bluesman when the song suggests it would be a good idea. This band played for hours and each set had more energy than the set before. If allowed to play till the next day the health department would warn of heart attacks but the survivors on the dance floor would be able to run marathons. Even if you sit and listen (hard for many to do) you get a good show when they perform. They throw in a little funk and blues with the Zydeco and when they do something like “Iko Iko” you may notice that they do it differently than anyone else does it. The friend I was with who knows Zydeco more than I do told me that Zydeco bands, like many other bands, do mix things up a little by doing something a little different on different nights too. When they sang about crawfish, shrimp, jumbalaya, and gumbo we ordered some. NW seafood along with red beans, rice and Louisiana hot sauce seemed perfect for dinner. I hope Louisiana keeps producing great cultural gifts to the world, and glad some of it comes to this region.
