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Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin’ Wolf, was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he moved to Chicago in adulthood and became successful, forming a rivalry with fellow bluesman Muddy Waters. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists.
The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.] Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'” Several of his songs, including “Smokestack Lightnin'”, “Killing Floor” and “Spoonful”, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time” “Poor Boy Blues”, or “Poor Boy, Long Ways From Home”, is a traditional blues song of unknown origin.
As with most traditional blues songs, there is great variation in the melody and lyrical content as performed by different artists. However, there is often a core verse containing some variation of the line “I’m a poor boy a long way from home.” The song is often associated with a slide guitar accompaniment. Gus Cannon recalled hearing a slide guitarist named Alec or Alex Lee in Coahoma County around 1900, playing a version of the song. Cannon himself, under the pseudonym Banjo Joe, later recorded the song.
The song is often cited as one of the oldest in the blues genre. Bo Weavil Jackson (as “Sam Butler”) recorded the song in Chicago in 1926 for Vocalion Records.
Muddy Waters was inarguably one of the greatest and most influential blues musicians who ever lived. Often referred to as the “father of modern Chicago blues”, he took Delta blues and added amplified electric guitars – often backed with electric bass and drums – to create a new sound by arranging everything into a band format. An unrivaled singer of blues and a remarkable songwriter, his recordings and live performances proved to be immensely influential on a number of genres, including rhythm and blues, rock ‘n’ roll, hard rock, jazz, and even folk.
Born “McKinley Morganfield” in Rolling Fork, Mississippi in 1915, he was raised by his grandmother after his mother died shortly following his birth. His nickname came from his childhood habit of mud play on the plantations. Waters developed an early interest in music and started playing harmonica in his early teens. He took up guitar at the age of seventeen and honed his skills under the apprenticeship of famed bluesmen on the southern circuit. His most important mentor was Son House, who taught him about the basics of blues singing, open tunings, and slide guitar.
Career and Musical Achievements:
Muddy Waters started playing guitar at the age of seventeen and made the acquaintance of several famous blues guitarists on the southern circuit within a few years. He relocated to Chicago in 1943 and became a major part of the city’s blues scene with his loud, crude and brash electric sound. His brilliant verbal imagery, sensual lyrics and frantic bottleneck slide guitar work produced hits such as “I’m Your Hoochie Coochie Man”, “I Just Want to Make Love to You”, “I’m Ready”, “Got My Mojo Working”, and “Rollin’ Stone”.
Waters is widely credited as the link between the gritty acoustic blues of Robert Johnson and the British rock scene of the 1960s and beyond. He took Delta blues and intensified it by cranking up the volume with electric guitars and amplifiers, while turning it into a band orchestration. Among those who were influenced by his guitar work were Jimi Hendrix, Keith Richards, John Lennon, Jimmy Page, John Lennon, Johnny Winter, Buddy Guy, and countless others. His thick voice and firm, appealing personality defined showmanship techniques of blues.
After going through a roller coaster of career ups and downs, Muddy finally got the recognition he truly deserved in the late 1970s. He drew a whole new generation of fans after his legendary performances at the Newport Jazz Festival and ChicagoFest.
His health began to deteriorate in the early 1980s. Waters died aged 70 from heart failure at his Westmont residence in 1983. His funeral service funeral at Restvale Cemetery was attended by various prominent musicians and thousands of his grief-stricken fans.
Awards and Accolades:
Muddy Waters earned numerous awards and accolades in his lifetime, and has been posthumously awarded many more. A few of them include six Grammys, five Blues Foundation Awards, and the Grammy Lifetime Achievement Award. He has been inducted into the Rock and Roll Hall of Fame (1987), and into the Blues Hall of Fame (1980).
Muddy Waters was married three times: to Mabel Berry (1932–1935), Geneva Morganfield (1940–1973), and Marva Jean Brooks (1979–1983). He had at least five children.
Written by Willie Dixon and first recored in 1954 by McKinley Morganfield, aka Muddy Waters, the father of Chicago blues.
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I don’t want you to be no slave I don’t want you to wake all day I don’t want you to be true I just want to make love to you I don’t want you to wash my clothes I don’t want you to keep our home I don’t want your money too I just want to make love to you Love to you Love to you Love to you
They tell about the way you Switch and walk Now I can see by the way you Now I can know by the way you Treat your man That I could love you baby until’ the Cryin’ shame I don’t want you to cook my bread I don’t want you to make my bed I don’t want you because I’m sad and blue I just want to make love to you Love to you Love to you Love to you
Dave Brubeck – piano Paul Desmond – alto sax Gerry Mulligan – baritone sax Jack Six – bass Alan Dawson – drums ● Dave Brubeck Trio feat. Gerry Mulligan & Paul Desmond – Berliner Jazztage 1972 Recorded live on November 4th, 1972 at Berliner Philharmonie, Berlin, Germany.
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Keith Jarrett Trio – Standards 2 – LIVE in Tokyo, October 26, 1986, at Hitomi Memorial Hall
Keith Jarrett Piano Gary Peacock Double Bass Jack DeJohnette Drums
0:50 You Don’t Know What Love Is (Gene de Paul & Don Raye – 1941) 10:04 With A Song In My Heart (Richard Rodgers & Lorenz Hart – 1929) 19:30 When You Wish Upon A Star (Leigh Harline & Ned Washington – 1940) 27:34 All Of You (Cole Porter – 1954) 35:52 Blame It To My Youth (Oscar Levant & Edward Heyman – 1934)
44:37 Love Letters ( Victor Young & Edward Heyman – 1945) 52:46 Georgia On My Mind (Hoagy Carmichael & Stuart Gorrell – 1930) 1:00:52 You And The Night And The Music (Arthur Schwartz & Howard Dietz – 1934) 1:10:47 When I Fall In Love (Victor Young & Edward Heymann – 1952) 1:16:32 Green Dolphin Street (Bronisław Kaper & Ned Washington – 1947) 1:24:22 Woodyn’ You (Dizzy Gillespie – 1943)
Recorded live in Tokyo, October 26, 1986 at Hitomi Memorial Hall
This standards extravaganza is the regression to the previous concert’s progression, but loses no sense of integrity for its introversion. “You Don’t Know What Love Is” eases into things with sweeping finesse such as only Jarrett can pull off. It is followed by “With A Song In My Heart,” the meditation of which morphs into some solid invigorations. Peacock and DeJohnette share a flawless rapport, the drummer popping off that snare like a machine gun. So begins an alternating pattern of valleys and peaks, which by the end leave behind an even more cohesive program than the first.
We next dip down into a tune the trio plays like no one else: “When You Wish Upon A Star.” Jarrett’s rendering makes even the most familiar blossom anew with emotional honesty. The mastery on display in this quintessential example is as pliant as Peacock’s strings, and carries over into the interlocking tempi of “All Of You.” For this, the bassist leaps forward with the first of two solos, moving from robust to filigreed without loss of syncopation. The bassist turns out to be the sun of this solar system, lathering a mysterious yet lucid “Georgia On My Mind” and a duly nostalgic “When I Fall In Love” with enough light to spare in conversation with his bandmates.
DeJohnette, for his part, airbrushes the night sky in “Blame It On My Youth” and lets the groove be known behind “Love Letters.” And in tandem with Jarrett, he feeds magic into the masterstroke of “You And The Night And The Music.” Unforgettable. Each of the encores—“On Green Dolphin Street,” and “Woody ’n You,” —is a virtuosic gem set to twinkling and reminds us that Jarrett and his associates came this far only by selecting their divergences lovingly.
“Although only music excites me, and awards and ceremonies do not, I feel honored to receive this NEA Jazz Masters Award, due to the many players on the list since 1982 that have been influential in my life. I’m honored to be in their company, and am reminded that the true nature of jazz has always relied on the individual players making their mark on the music of the future. Jazz is not dead as long as someone is playing with true inspiration.“
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Undercurrent is a 1962 album by jazz pianist Bill Evans and jazz guitarist Jim Hall. They would collaborate again in 1966 for the follow-up album Intermodulation.
Bill Evans (p)
Jim Hall (gr) Released: 1962 Recorded: April 24 & May 14, 1962 Sound Makers, New York City Label: United Artists UAJS 15003 Producer: Alan Douglas
In his November 26, 1962 review for Down Beat magazine jazz critic Pete Welding states: “This collaboration between Evans and Hall has resulted in some of the most beautiful, throughly ingratiating music it has been my pleasure to hear…”
The front cover image for Undercurrent is Toni Frissell’s photograph “Weeki Wachee Spring, Florida”. The album was originally released on United Artists, then reissued by Solid State in 1968. More recently, the album was reissued on EMI/Blue Note (in fact, both Blue Note and United Artists Records have been owned for a long time by EMI). The original LP and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo in white; but for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white coloration and size, without lettering.
“My Funny Valentine” (Richard Rodgers, Lorenz Hart) “I Hear a Rhapsody” (Jack Baker, George Fragos, Dick Gasparre) “Dream Gypsy” (Judith Veveers) “Romain” (Jim Hall) “Skating in Central Park” (Lewis) “Darn That Dream” (DeLange, Van Heusen) “Stairway to the Stars” (Malneck, Parish, Signorelli) “I’m Getting Sentimental Over You” (Bassman, Washington) “My Funny Valentine [Alternate Take] “Romain” [Alternate Take]