Sonny Boy Williamson I - Wikipedia, the free encyclopedia. This article is about the blues musician who died in 1948. For the Sonny Boy Williamson who died in 1965, see Sonny Boy Williamson II. John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player and singer, and the first to use the name Sonny Boy Williamson.
Biography and career Williamson was born near Jackson, Tennessee in 1914. His original recordings were considered to be in the country blues style, but he soon demonstrated skill at making harmonica a lead instrument for the blues, and popularized it for the first time in a more urban blues setting. He has been called "the father of modern blues harp". Early recordings 1940s He was popular enough that by the 1940s, another blues harp player, Aleck/Alex "Rice" Miller, from Mississippi, began also using the name Sonny Boy Williamson. Death and musical legacy Williamson's final recording session took place in Chicago in December 1947, backing Big Joe Williams. Acusticas. Django site Home. Thanks to the Bibliotheque Nationale de France, we now have access to the full color facsimile of the famous Milleran MS. How could we ever do without the color? The same applies to the Barbe manuscript which I hope to see become available also in color.
In the meantime, I am making the Milleran available here with the contents indexed for searching. This manuscript was probably compiled over a number of years with blank pages in between sections for the different tunings. Charles Mouton is particularly well represented. The use of color is particularly striking and shows all the care and attention its creator put into that volume, as do the various ornaments and illustrations.
Little Walter. For the radio personality, see Little Walter DeVenne. Little Walter, born Marion Walter Jacobs (May 1, 1930 – February 15, 1968), was an American blues musician and singer, whose revolutionary approach to the harmonica earned him comparisons to Charlie Parker and Jimi Hendrix, for innovation and impact on succeeding generations. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. Little Walter was inducted to the The Rock and Roll Hall of Fame in 2008 in the "sideman" category making him the first and only artist ever inducted specifically as a harmonica player.
Biography Early years Jacobs was born in 1930 in Marksville, Louisiana and raised in Rapides Parish, Louisiana, (although recently uncovered census data suggests he may have been born, earlier, possibly as early as 1925) where he first learned to play the harmonica. Success Death Legacy Awards and recognition Tiempo de Blues. Rimera llamada El tercer elemento que convierte al continente americano en el inconmensurable arcón musical del que han salido los géneros musicales que han dado la vuelta al mundo marcando ritmos, pasos y estilos con los que este planeta ha bailado es, sin duda, el elemento humano transferido directamente de África.
Elemento que se funde y se mezcla tanto con la cultura musical de las culturas originales como con el enorme torrente musical proveniente de Europa y el Cercano Oriente. La gran ironía es que estos inmigrantes que aportaron ritmo y alma llegaron contra su voluntad y en las condicione más degradantes para un ser humano: como esclavos. Lo sorprendente y maravilloso es que en esas condiciones tan adversas e inhumanas la creación musical haya florecido con tanta fuerza y sentimiento, sin ese aporte cultural y fuerza de trabajo aportado por los oriundos de esos reinos, naciones y pueblos africanos, nuestra riqueza musical no sería la misma.
Segunda llamada Tercera llamada. Toots Thielemans. Circle of Smiles theme on chromatic harmonica (Hohner CX 12 C) Toots Thielemans (born Jean-Baptiste Frédéric Isidor, Baron Thielemans, 29 April 1922, Brussels, Belgium) is a Belgian jazz musician known for his guitar and harmonica playing as well as his whistling. Thielemans is credited as one of the greatest harmonica players of the 20th century. He has worked as a bandleader (scoring an international hit in the 1960s with his song "Bluesette") and as a sideman (notably on many projects with composer/arranger Quincy Jones), and has appeared on dozens of film soundtracks. In 2009 he became NEA Jazz Master, the highest honour for a jazz musician in the United States. He may be best known to some as the performer whistling the melody in commercials for Old Spice cologne. He announced his retirement, at the age of 91, on March 12, 2014.
Career Thielemans started his career as a guitar player. Discography Toots at La Brasserie 1975 Major works include: As sideman Thelonious Monk. His compositions and improvisations feature dissonances and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of silences and hesitations.
He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: while the other musicians in the band continued playing, he would stop, stand up from the keyboard, and dance for a few moments before returning to the piano. Monk is one of five jazz musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck, and Duke Ellington, and before Wynton Marsalis. Early life Thelonious Monk was born October 10, 1917, in Rocky Mount, North Carolina, the son of Thelonious and Barbara Monk, two years after his sister Marion.
In the early to mid-1940s, Monk was the house pianist at Minton's Playhouse, a Manhattan nightclub. December 2006. On December 18, 2002, Belle and Sebastian performed an extended set at John Peel's Christmas bacchanal, broadcast live over Radio 1 in London. Now, those of you who've been visiting this blog for more than a year will, in all probability, be scratching your heads (with some justice), asking yourselves if this is some kind of joke; if this year's Christmas Day offering could really be the same one as last year. Well . . . it is; but for two very good (I think) reasons: 1) A regular visitor to this blog asked me to repost it this year. and 2) I doubt if I've ever heard a better, less widely known musical Christmas bash than this. Of course, there is the Vince Guaraldi Trio's A Charlie Brown Christmas from 1965, but beautiful and haunting as that LP is, and will always be, it's so well-known and easily obtainable that posting it here would constitute laziness on a scale that outstrips my reposting the sublime Belle and Sebastian set.
Esto hace que la vibración de las cuerdas haga oscilar el resonador con lo que se consigue un cambio del volumen de la caja de resonancia, produciendo un sonido único y característico, además de un cierto tono metálico que recuerda a la steel guitar. Debajo del resonador hay una estructura de conos superpuestos, que amplifica el sonido, proyectándolo hacia afuera a través de los orificios que tiene practicados el resonador.
Classic Piano Blues from Smithsonian Folkways. Explore: Blues. Support AllMusic It appears that something in this browser is blocking advertisements from being displayed properly on our site. This impacts our ability to keep AllMusic up and running. Please help us keep our content free by selecting one of the following options: How to disable your ad blocker for AllMusic: AdBlock Click the Adblock icon at the right of your address bar.Click "Don't run on pages on this domain". AdBlock Plus Click the Adblock Plus icon at the right of your address bar.Click "Enabled on this site" to disable ad blocking for the current website you are on. Use AllMusic ad-free with the SupportFreeContent extension.
Continue With Support Free Content More Info Allow ads on AllMusic by whitelisting this site or disabling your ad blocker. Continue After Disabling Ad Blocker Help Support AllMusic for a faster, ad-free experience with a $12 annual subscription. Support AllMusic With A Paid Subscription. A Short History of the Blues. The Blues Queens The Bluesmen The origins of blues is not unlike the origins of life. For many years it was recorded only by memory, and relayed only live, and in person. The Blues were born in the North Mississippi Delta following the Civil War. Influenced by African roots, field hollers, ballads, church music and rhythmic dance tunes called jump-ups evolved into a music for a singer who would engage in call-and-response with his guitar. The Crossroads From the crossroads of Highways 61 and 49, and the platform of the Clarksdale Railway Station, the blues headed north to Beale Street in Memphis. The Blues... it's 12-bar, bent-note melody is the anthem of a race, bonding itself together with cries of shared self victimization.
W.C. The blues form was first popularized about 1911-14 by the black composer W.C. The Blues are the essence of the African American laborer, whose spirit is wed to these songs, reflecting his inner soul to all who will listen. Elmore James B.B. Peter Scott. BloggingTheBlues. Blues harp forum search: find answers to ANY harmonica question! Harmonica. Reeds are pre-tuned to individual pitches. Tuning may involve changing a reed's length, the weight near its free end, or the stiffness near its fixed end. Longer, heavier and springier reeds produce deeper, lower sounds; shorter, lighter and stiffer reeds make higher-pitched sounds. If, as on most modern harmonicas, a reed is affixed above or below its slot rather than in the plane of the slot, it responds more easily to air flowing in the direction that initially would push it into the slot, i.e., as a closing reed.
This difference in response to air direction makes it possible to include both a blow reed and a draw reed in the same air chamber and to play them separately without relying on flaps of plastic or leather (valves, wind-savers) to block the nonplaying reed. Parts Comb and two reedplates. Reed plate. Reedplate mounted on the comb of a diatonic harmonica. There are three types of harmonicas: the diatonic, the chromatic, and the tremolo. Comb Reed-plate El blues es la vida llena de trabajo, de gozo y de muchas tristezas: Jorge García Ledesma - La Jornada. ■ Para “reconocer a los maestros negros” escribió un libro que se presentará hoy Pablo Espinosa A lo largo de las 324 páginas del libro titulado Los caminos tristes de una música.
El blues en México, Jorge García Ledesma despliega nuevas, personales y muy coherentes aproximaciones a ese género seminal que ha germinado en lo que hoy por hoy es la música más popular del mundo: el blues. Además de ser el primer libro sobre el tema en nuestro país, aporta senderos para la unificación del gremio, propone formas de organización distintas, comparte una documentación contextual invaluable, producto de su investigación de toda una vida, pero sobre todo recupera el carácter abiertamente libertario, clandestino, insurreccional, el blues como una forma de vida, una actitud vital, un estado del alma.
Jorge García Ledesma ha entregado su vida al blues. Documentación de los caminos transitados El autor, Jorge García Ledesma, concedió la siguiente entrevista a La Jornada: –¿Qué es ser del blues?