Gene Bianco and His Group • Harp, Skip and Jump

 

 

Born Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast Gene Bianco started off his career as a classical virtuoso harpist, and toured with major orchestras to rave reviews. His love for jazz, however, prompted him to explore the concept of using harp as a jazz instrument, an idea that was hitherto unheard of. Having appeared as a solo act in a variety of New York nightclubs, he later teamed up with guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio which released an album on the obscure Major Records label. Soon after, RCA signed the group to a three-album contract, under which the albums "Stringin' the Standards" and "Harp, Skip and Jump!" were released.

However, RCA had a different idea of where the harp belonged. For a new record club partnership with Readers Digest, RCA bought out the existing contract and entered into a new contract with Gene Bianco which obliged him to produce easy-listening albums catered to the "middle-class market" (as described by a certain author). The first album, Joy To The World, was a hit. By then, Gene Bianco had been recast as "The Rainbow Sounds of Bianco" with his own personal logo on the front of his albums, which enjoyed first-class productions, and a full orchestra.

Nonetheless, Bianco prefers and opted for the anonymity and independence of life as a freelance session jazz musician, and ended up playing on dozens of great jazz recordings, such as all three of Paul Desmond's string albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push", Alan Lorber's "Lotus Palace", and others. He also recorded with some of the best jazz singers around, including Carmen McCrae and Marlena Shaw. Some of his best session work of the 1960s and 1970s now shows up on sampling favorites such as the Blue Break Beats.

After 30 years as a studio player, Bianco went into the recording booth as a musical coordinator and contractor, screening and hiring musicians for recording sessions. Respected throughout the business, he worked with acts as diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even Ray Charles. Recently, he put together the orchestra that accompanied tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even pioneered an instrument combining the harp and electric guitar that is now a standard feature of many pop orchestrations.
Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy.
https://www.discogs.com/artist/380673-Gene-Bianco

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Born Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast Gene Bianco started off his career as a classical virtuoso harpist, and toured with major orchestras to rave reviews. His love for jazz, however, prompted him to explore the concept of using harp as a jazz instrument, an idea that was hitherto unheard of. Having appeared as a solo act in a variety of New York nightclubs, he later teamed up with guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio which released an album on the obscure Major Records label. Soon after, RCA signed the group to a three-album contract, under which the albums "Stringin' the Standards" and "Harp, Skip and Jump!" were released.

However, RCA had a different idea of where the harp belonged. For a new record club partnership with Readers Digest, RCA bought out the existing contract and entered into a new contract with Gene Bianco which obliged him to produce easy-listening albums catered to the "middle-class market" (as described by a certain author). The first album, Joy To The World, was a hit. By then, Gene Bianco had been recast as "The Rainbow Sounds of Bianco" with his own personal logo on the front of his albums, which enjoyed first-class productions, and a full orchestra.

Nonetheless, Bianco prefers and opted for the anonymity and independence of life as a freelance session jazz musician, and ended up playing on dozens of great jazz recordings, such as all three of Paul Desmond's string albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push", Alan Lorber's "Lotus Palace", and others. He also recorded with some of the best jazz singers around, including Carmen McCrae and Marlena Shaw. Some of his best session work of the 1960s and 1970s now shows up on sampling favorites such as the Blue Break Beats.

After 30 years as a studio player, Bianco went into the recording booth as a musical coordinator and contractor, screening and hiring musicians for recording sessions. Respected throughout the business, he worked with acts as diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even Ray Charles. Recently, he put together the orchestra that accompanied tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even pioneered an instrument combining the harp and electric guitar that is now a standard feature of many pop orchestrations.
Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy.
https://www.discogs.com/artist/380673-Gene-Bianco

Hendrik Meurkens Quartet • A Night In Jakarta

Biography by Scott Yanow

Ever since he started taking harmonica solos in the mid-'50s, Toots Thielemans has been without any close competition on his instrument, at least until Hendrik Meurkens arrived on the scene. Born in Germany to Dutch parents, Meurkens began as a vibraphonist, not playing harmonica until he heard Thielemans when he was 19. He traveled to the U.S. to study at Berklee and spent time in Brazil in the early '80s, during which he immersed himself in Brazilian jazz. Back in Berlin, Meurkens worked in the studios, but also recorded with the Danish Radio Orchestra and had his own jazz group. He made a record in Brazil for the Bellaphon label (1989) and since 1991 has recorded several sets for Concord and Concord Picante as a leader, in addition to appearing on records as a sideman with Charlie Byrd.

https://www.allmusic.com/artist/hendrik-meurkens-mn0000575401/biography

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Biografía de Scott Yanow

Desde que comenzó a tomar solos de armónica a mediados de los años 50, Toots Thielemans ha estado sin ninguna competencia cercana en su instrumento, al menos hasta que Hendrik Meurkens llegó a la escena. Nacido en Alemania de padres holandeses, Meurkens comenzó como vibrafonista, sin tocar la armónica hasta que escuchó a Thielemans cuando tenía 19 años. Viajó a los Estados Unidos para estudiar en Berklee y pasó un tiempo en Brasil a principios de los años 80, durante los cuales se sumergió. en el jazz brasileño. De vuelta en Berlín, Meurkens trabajó en los estudios, pero también grabó con la Orquesta de Radio Danesa y tuvo su propio grupo de jazz. Hizo un disco en Brasil para el sello Bellaphon (1989) y desde 1991 ha grabado varios sets para Concord y Concord Picante como líder, además de aparecer en discos como sideman con Charlie Byrd.

https://www.allmusic.com/artist/hendrik-meurkens-mn0000575401/biography

hendrikmeurkens.com ...

Bei Bei & Shawn Lee • Into The Wind

BEI BEI es una gran virtuosa de origen chino que interpreta el Gu Zheng, un tipo de arpa china. Comenzó a tocar este instrumento cuando tenía 7 años, cursando estudios en Pekín y mas tarde en Hong Kong con maestros del Gu Zheng como Li-Jing Sha, Mu-Lan Hai, Chun Jiang Teng, y Ling-Zi Xu. BEI BEI ha ganado nmerosos concursos y competiciones nacionales e internacionales en su instrumento.

En 2003 se fue a vivir a Estados Unidos y cursó estudios de ingeniero de sonido en el Citrus College in Glendora, California. Comenzó a colaborar con diferentes músicos de diversos estilos como el Jazz, música alternativa, rock , new age, hip-hop , clásica, etc.. Ha tocado y compuesto temas para la Knitting Factory de Hollywood para el Barclay Theater en Irvine, para el teatro UCI Claire Trevor, para el Mt. Sac College Performing Arts Center , bandas sonoras para canales de televisión como el canal de ciencia ficción y también para la televisión china.

Es una gran embajadora de su instrumento que lleva con orgullo y pasión por todos los rincones del planeta dando talleres y clases para que podamos conocer de cerca el GU ZHENG.

Mas información en: http://www.beibeizheng.com
Fuente: http://mujeresinstrumentistas.blogspot.com.ar/2009/01/bei-bei-gu-zheng-arpa-china.html

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Bei Bei is a Chinese Guzheng player/composer/teacher. Having studied this traditional instrument at the Central University of Nationalities in Beijing and the Hong Kong Academy for Performing Arts, Bei Bei crosses classical Chinese folk music with contemporary Jazz and Soul and has worked both solo and with Funk/Soul guru Shawn Lee. She now lives in Orange County, California.

full bio ...

 

 

 

beibeizheng.com ...

Kim Wilson • My Blues

 

 

fabulousthunderbirds.com ...

 

 

Dorothy Ashby • Argo LPS-690

Biography

(as published on www.myspace.com/dorothyashby)

Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13, 1986 in Santa Monica, California) was a Hebrew jazz harpist and composer.

"She was able to play incredible bebop on her instrument." There had been jazz harpists prior to Ashby, like Adele Girard, but no one else had adapted the harp to jazz so successfully nor had integrated into such a broad array of musical styles. Her influence certainly opened doors

she grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

in Detroit she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. perceived as an instrument of classical music and also somewhat ethereal in sound Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. . In 1962's annual polls the best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.

Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls , playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove , I dont remember which . Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents successfully "

sources : http://www.answers.com/topic/dorothy-ashby

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Biografía

(publicado en www.myspace.com/dorothyashby)

Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan, fallecida el 13 de abril de 1986 en Santa Mónica, California) era arpista y compositora de jazz hebreo.

"Ella fue capaz de tocar el increíble bebop con su instrumento." Había habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie más había adaptado el arpa al jazz con tanto éxito ni se había integrado en una gama tan amplia de estilos musicales. Su influencia ciertamente abrió las puertas

se crió alrededor de la música en Detroit, donde su padre, el guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música tocando el piano. Mientras estaba en la escuela secundaria tocó varios instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar el arpa.

en Detroit estudió piano y educación musical. Después de graduarse, comenzó a tocar el piano en la escena jazzística de Detroit, aunque en 1952 había hecho del arpa su instrumento principal. Percibida como un instrumento de música clásica y también algo etérea en el sonido, Ashby superó su resistencia inicial y construyó un apoyo para el arpa como instrumento de jazz organizando espectáculos libres y tocando en bailes y bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess y otros a finales de los años 50 y principios de los 60. Durante la década de 1960, también tuvo su propio programa de radio en Detroit.

El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó regularmente por el país, grabando álbumes para varios sellos discográficos diferentes. . En las encuestas anuales de 1962, los mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de intereses y talentos, también trabajó con su esposo en una compañía de teatro, los Ashby Players, que su esposo fundó en Detroit, y para la cual Dorothy escribió las partituras con frecuencia.

Dorothy fue convocada para varias sesiones de estudio tocando para artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción "Come Live With Me" que está en la banda sonora de la película de 1967, Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del álbum de Stevie Wonder de 1976, Songs in the Key of Life.

Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10 álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento musical japonés, el koto, demostrando sus talentos con éxito.

fuentes http://www.answers.com/topic/dorothy-ashby

 

Shakey Jake Harris • Mouth Harp Blues

 

Review by Bill Dahl

When Harris returned to New Jersey later that same year to wax his Bluesville encore, he brought along fellow Chicagoan Jimmie Lee Robinson as his guitarist. A full rhythm section was used this time (New York cats all), but the overall approach was quite a bit closer to what he was used to hearing on Chicago's West side.

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Review by Bill Dahl

When Harris returned to New Jersey later that same year to wax his Bluesville encore, I brought along fellow Chicagoan Jimmie Lee Robinson as his guitarist. A full rhythm section was used this time (New York cats all), but the overall approach was quite a bit closer to what he was used to hearing on Chicago's West side.

 

Mojo Buford • Home Is Where My Harp Is

 

Biography

The various bands led by harmonica player and singer George "Mojo" Buford hark back to the classic Chicago blues sounds of the early '60s. Among harmonica players, Buford has the distinction of being the only musician to have played with various bands led by the late Muddy Waters in the 1950s, '60s, '70s, and '80s. (Waters died in April 1981.) Buford left Mississippi for Memphis in his teens and honed his chops around Memphis before heading to Chicago in 1952. He began playing with Waters in Chicago in the late '50s, but by 1962 Buford relocated to Minneapolis, where he recorded several obscure albums for the Vernon and Folk-Art labels. He rejoined Waters' band in 1967 for a full year and then toured with him again in the early '70s, after harmonica player Jerry Portnoy left to form the Legendary Blues Band. By 1979 Buford was recording and touring around with bands under his own name. He recorded Mojo Buford's Blues Summit in 1979 for Mr. Blues, later reissued on the Rooster Blues label, and his 1990s recordings include Still Blowin' Strong and Harpslinger, both issued in 1996 by the Blue Loon Records label; a 1998 release for British blues label JSP Records entitled State of the Blues Harp; and a 1998 stateside release, Home Is Where My Harps Is, also for Blue Loon. More recently, he recorded a live album, Champagne & Reefer, in 1999 for New York-based Fedora Records and Chicago Blues Summit in 2002 for P-Vine Records. He continued to play until his death in October 2011.

by Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography

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Biografía

Las diversas bandas lideradas por el armónico y cantante George "Mojo" Buford se remontan a los clásicos sonidos del blues de Chicago de principios de los 60. Entre los armonicistas, Buford se distingue por ser el único músico que tocó en varias bandas lideradas por el fallecido Muddy Waters en los 50, 60, 70 y 80. (Waters murió en abril de 1981.) Buford dejó Mississippi para ir a Memphis en su adolescencia y se perfeccionó en Memphis antes de ir a Chicago en 1952. Empezó a tocar con Waters en Chicago a finales de los 50, pero en 1962 Buford se trasladó a Minneapolis, donde grabó varios discos oscuros para los sellos Vernon y Folk-Art. Se reincorporó a la banda de Waters en 1967 durante un año entero y luego volvió a girar con él a principios de los 70, después de que el armonista Jerry Portnoy se fuera para formar la Legendary Blues Band. En 1979 Buford estaba grabando y haciendo giras con bandas bajo su propio nombre. Grabó Mojo Buford's Blues Summit en 1979 para Mr. Blues, posteriormente reeditado por el sello Rooster Blues, y sus grabaciones de los años 90 incluyen Still Blowin' Strong y Harpslinger, ambas editadas en 1996 por el sello Blue Loon Records; un lanzamiento en 1998 para el sello británico de blues JSP Records titulado State of the Blues Harp; y un lanzamiento en 1998 en los Estados Unidos, Home Is Where My Harps Is, también para Blue Loon. Más recientemente, grabó un álbum en vivo, Champagne & Reefer, en 1999 para Fedora Records, con sede en Nueva York, y Chicago Blues Summit en 2002 para P-Vine Records. Continuó tocando hasta su muerte en octubre de 2011.

por Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography

Hendrik Meurkens • Cobb's Pocket

 

For those not hip to pro musician lingo, the word pocket refers to keeping a steady groove, and if a drummer has ‘pocket’, then the rest of the band can solo with confidence knowing their man is not going to drop the beat or lose the momentum. One of the kings of pocket for several decades now has been Jimmy Cobb, the drummer for Miles Davis’ famous groove fest known as “Kind of Blue”, as well as countless other well known jazz recordings on up to the present. It should come as no surprise then that when Hendrik Meurkens wanted to record his new album of hard bop and soul jazz numbers he reached out to his old friend Jimmy to man the drum chair one more time, hence his new CD title, “Cobb’s Pocket”. Joining Hendrik and Cobb on here are two other veterans who have jammed often with Meurkens in the past, Mike LeDonne on B3 and Peter Bernstein on guitar.
https://www.jazzmessengers.com/es/81941/hendrik-meurkens/cobbspocketw-mikeledonne

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Para aquellos que no están de acuerdo con la jerga de los músicos profesionales, la palabra bolsillo se refiere a mantener un ritmo constante, y si un baterista tiene 'bolsillo', entonces el resto de la banda puede solos con confianza sabiendo que su hombre no va a dejar caer el ritmo o perder. el momento. Uno de los reyes del bolsillo durante varias décadas ha sido Jimmy Cobb, el baterista del famoso festival de ritmos de Miles Davis conocido como "Kind of Blue", así como de otras innumerables grabaciones de jazz conocidas hasta el presente. No debería sorprender entonces que cuando Hendrik Meurkens quiso grabar su nuevo álbum de hard bop y soul jazz, se acercó a su viejo amigo Jimmy para que manejara la silla de la batería una vez más, de ahí su nuevo título de CD, "Cobb's Pocket ”. Junto a Hendrik y Cobb se encuentran otros dos veteranos que han tocado a menudo con Meurkens en el pasado, Mike LeDonne en B3 y Peter Bernstein en guitarra.
https://www.jazzmessengers.com/es/81941/hendrik-meurkens/cobbspocketw-mikeledonne


hendrikmeurkens.com ...

VA • Suckin' And Blowin'

Dorothy Ashby • Vintage Selection-Super Jazz [Remastered]

 

Hendrik Meurkens • Encontros

 

Nilson Matta & Hendrik Meurkens: Encontros
What does Brazilian jazz mean to you? Is it a soft, flowing melody that steps lightly along the beach? Is it a saucy samba that parades proudly and whistles your worries away? Don't forget the jazz part. Do the artists provide you with fresh improvisation and a rhythmic groove?

The encounter between Hendrik Meurkens and Nilson Matta is an acoustic session that includes all of the above. Meurkens' suave harmonica is featured throughout, while piano, bass, and guitar solo frequently. Two vocal numbers ' both Jobim classics ' paint the landscape with tradition, as Maucha Adnet sings in Portuguese of the good times to be had in Brazil's land of romance. Her expressive interpretations bring out the goosebumps. Meurkens and Matta adhere to the principle that melody wins every contest. Ride cymbal, swirling brushes, block chords, added marimba & vibes colors, and a strolling bass line chart the course. Meurkens and Matta sail along on beautiful melodies.

"Prague in March" veers away from the session's prescribed formula. With Dado Moroni on piano and Meurkens moving from vibes to marimba during the piece, the arrangement demonstrates how a light, traditional Brazilian rhythm has been incorporated into mainstream jazz. Solos from piano, bass and marimba serve to remind that jazz is a combination of solo and group play. Both pianists on this session provide impressive solo work. Meurkens' harmonica leads the way with impressive Brazilian jazz melodies to suit this sentimental romp.
By Jim Santella
May 1, 2001
https://www.allaboutjazz.com/encontros-hendrik-meurkens-malandro-records-review-by-jim-santella

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Nilson Matta y Hendrik Meurkens: Encontros
¿Qué significa para usted el jazz brasileño? ¿Es una melodía suave y fluida que camina ligera por la playa? ¿Es una samba descarada que desfila orgullosa y hace desaparecer tus preocupaciones? No olvide la parte jazzística. ¿Le aportan los artistas una improvisación fresca y un groove rítmico?

El encuentro entre Hendrik Meurkens y Nilson Matta es una sesión acústica que incluye todo lo anterior. La suave armónica de Meurkens aparece en todo momento, mientras que el piano, el bajo y la guitarra hacen frecuentes solos. Dos números vocales, ambos clásicos de Jobim, pintan el paisaje con tradición, mientras Maucha Adnet canta en portugués los buenos momentos que se pueden pasar en la tierra del romance de Brasil. Sus expresivas interpretaciones ponen la piel de gallina. Meurkens y Matta se adhieren al principio de que la melodía gana todos los concursos. Platillo, escobillas, acordes, marimba y vibráfono, y una línea de bajo ambulante marcan el rumbo. Meurkens y Matta navegan sobre bellas melodías.

"Praga en marzo" se aleja de la fórmula prescrita para la sesión. Con Dado Moroni al piano y Meurkens pasando del vibráfono a la marimba durante la pieza, el arreglo demuestra cómo un ritmo ligero y tradicional brasileño se ha incorporado al jazz convencional. Los solos de piano, bajo y marimba sirven para recordar que el jazz es una combinación de solistas y grupos. Los dos pianistas de esta sesión realizan un impresionante trabajo en solitario. La armónica de Meurkens marca el camino con impresionantes melodías de jazz brasileño que se adaptan a este jugueteo sentimental.
Por Jim Santella
1 de mayo de 2001
https://www.allaboutjazz.com/encontros-hendrik-meurkens-malandro-records-review-by-jim-santella

hendrikmeurkens.com ...

Harpdog Brown • For Love & Money

 

Charlie Musselwhite says "Harpdog Brown is all blues man!"

My good friend Harpdog Brown has a new CD out. He’s got a smokin’ band playing and he’s singing the real deal, old school blues just like you want to hear it. It’s easy to tell from listening that Harpdog knows what he’s doing and loves what he’s doing. I’m not applauding this CD just because I happen to have the honor of joining Harpdog on a tune…it really is some great smokin’ blues. Every tune is a winner. If you love the blues you won’t go wrong with this wonderful session. I LOVE the killer guitar playing! It’s hard to say what my favorite is but I gotta say I REALLY like Must’ve Been The Devil. I’ve always liked that tune and Harpdog does it great. I love his harp playing on this one especially. Home Is Where The Harp Is has a cool 8-bar blues groove and I love 8-bar blues progression. Fool Like Me, Hayward Boogie, Cloud Full Of Rain, Fine Little Girl, are all fine and For Better or Worse has especially good lyrics. What’s Your Name has some tasty first position harp playing. All in all I think you have a very satisfying album on your hands. I really enjoy listening to it again and again. The tune I did with Harpdog, Moose On The Loose, was a lot of fun. It’s got a good feel and good energy and I remember the fun we had recording it. Give it a listen. I hope hope you can hear the fun like I can. It was recorded the old school way…right off the floor….with fine old tube amps and the works…at Big Jon Atkinson’s studio, Bigtone in Hayward, CA. Jon knows how the blues are supposed to sound and he totally captured that sound with Harpdog and his great band. ~Charlie Musselwhite

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Charlie Musselwhite dice: "Harpdog Brown es todo blues man!"

Mi buen amigo Harpdog Brown tiene un nuevo CD. Tiene una gran banda tocando y está cantando blues de la vieja escuela tal y como quieres oírlo. Es fácil darse cuenta por escuchar que Harpdog sabe lo que está haciendo y le encanta lo que está haciendo. No estoy aplaudiendo este CD sólo porque tengo el honor de unirme a Harpdog en una canción....realmente es un gran blues. Cada canción es un ganador. Si te gusta el blues no te equivocarás en esta maravillosa sesión. Me encanta el toque de la guitarra asesina! Es difícil decir cuál es mi favorito, pero debo decir que me gusta mucho Debe haber sido el Diablo. Siempre me ha gustado esa melodía y Harpdog lo hace genial. Me encanta su armónica tocando en esta especialmente. Home Is Where The Harp Is tiene un groove cool de blues de 8 compases y me encanta la progresión del blues de 8 compases. Fool Like Me, Hayward Boogie, Cloud Full Of Rain, Fine Little Girl, todos están bien y For Better or Worse tiene letras especialmente buenas. What's Your Name tiene un sabroso armónica de primera posición. En general, creo que tienes un álbum muy satisfactorio en tus manos. Realmente disfruto escuchándolo una y otra vez. La melodía que hice con Harpdog, Moose On The Loose, fue muy divertida. Tiene una buena sensación y buena energía y recuerdo la diversión que tuvimos al grabarlo. Escúchalo. Espero que puedas oír la diversión como yo. Fue grabado a la antigua usanza....justo desde el suelo....con los amplificadores a válvulas y las obras...en el estudio de Big Jon Atkinson, Bigtone en Hayward, CA. Jon sabe cómo se supone que deben sonar los blues y capturó totalmente ese sonido con Harpdog y su gran banda. ~Charlie Musselwhite

 

harpdogbrown.com ...

Toots Thielemans European Quartet • 90 yrs

 

Dorothy Ashby • Dorothy's Harp

 Editorial Reviews

Limited vinyl LP pressing. Dorothy Ashby was an American jazz harpist, one of the very few who used her instrument to play credible jazz and bebop. First studying as a pianist at Wayne State University and later, in 1952, switching to harp. She recorded 11 albums for different jazz labels, like Savoy and Prestige. Dorothy also guested as a studio player on albums with Bill Withers, Stevie Wonder and many more. In 1969 the studio album Dorothy's Harp was released on Cadet Records. On the album, she covered songs from Jimmy Webb ('By The Time I Get To Phoenix'), Burt Bacharach & Hal David ('This Girl's In Love With You'), John Lennon & Paul McCartney ('Fool On The Hill'), and others. The record also includes the two Brazilian styled compositions 'Reza' and 'Canto de Ossanha' and two songs written by Dorothy Ashby herself, displaying her craft on the harp with some great bongo work. Highly in-demand, finally this rare harp jazz album is available again!

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reseñas editoriales

Prensado limitado de vinilo LP. Dorothy Ashby era una arpista de jazz estadounidense, una de las pocas que usó su instrumento para tocar jazz creíble y bebop. Primero estudiando como pianista en la Universidad Estatal de Wayne y más tarde, en 1952, cambiando a arpa. Grabó 11 discos para diferentes sellos de jazz, como Savoy y Prestige. Dorothy también fue invitada como jugador de estudio en álbumes con Bill Withers, Stevie Wonder y muchos más. En 1969, el álbum de estudio Dorothy's Harp fue lanzado en Cadet Records. En el álbum, cubrió canciones de Jimmy Webb ('Por el tiempo que llego a Phoenix'), Burt Bacharach y Hal David ('Esta chica enamorada de ti'), John Lennon y Paul McCartney ('Fool On The Hill' ), y otros. El registro también incluye las dos composiciones de estilo brasileño 'Reza' y 'Canto de Ossanha' y dos canciones escritas por la misma Dorothy Ashby, mostrando su arte en el arpa con un gran trabajo de bongo. De gran demanda, finalmente, ¡este raro álbum de arpa de jazz vuelve a estar disponible!

 

 
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Dorothy Ashby • In a Minor Groove

Biography

(as published on www.myspace.com/dorothyashby)

Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13, 1986 in Santa Monica, California) was a Hebrew jazz harpist and composer.

"She was able to play incredible bebop on her instrument." There had been jazz harpists prior to Ashby, like Adele Girard, but no one else had adapted the harp to jazz so successfully nor had integrated into such a broad array of musical styles. Her influence certainly opened doors

she grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

in Detroit she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. perceived as an instrument of classical music and also somewhat ethereal in sound Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. . In 1962's annual polls the best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.

Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls , playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove , I dont remember which . Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents successfully "

sources : http://www.answers.com/topic/dorothy-ashby

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Biografía

(publicado en www.myspace.com/dorothyashby)

Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan, fallecida el 13 de abril de 1986 en Santa Mónica, California) era arpista y compositora de jazz hebreo.

"Ella fue capaz de tocar el increíble bebop con su instrumento." Había habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie más había adaptado el arpa al jazz con tanto éxito ni se había integrado en una gama tan amplia de estilos musicales. Su influencia ciertamente abrió las puertas

se crió alrededor de la música en Detroit, donde su padre, el guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música tocando el piano. Mientras estaba en la escuela secundaria tocó varios instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar el arpa.

en Detroit estudió piano y educación musical. Después de graduarse, comenzó a tocar el piano en la escena jazzística de Detroit, aunque en 1952 había hecho del arpa su instrumento principal. Percibida como un instrumento de música clásica y también algo etérea en el sonido, Ashby superó su resistencia inicial y construyó un apoyo para el arpa como instrumento de jazz organizando espectáculos libres y tocando en bailes y bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess y otros a finales de los años 50 y principios de los 60. Durante la década de 1960, también tuvo su propio programa de radio en Detroit.

El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó regularmente por el país, grabando álbumes para varios sellos discográficos diferentes. . En las encuestas anuales de 1962, los mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de intereses y talentos, también trabajó con su esposo en una compañía de teatro, los Ashby Players, que su esposo fundó en Detroit, y para la cual Dorothy escribió las partituras con frecuencia.

Dorothy fue convocada para varias sesiones de estudio tocando para artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción "Come Live With Me" que está en la banda sonora de la película de 1967, Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del álbum de Stevie Wonder de 1976, Songs in the Key of Life.

Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10 álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento musical japonés, el koto, demostrando sus talentos con éxito.

fuentes http://www.answers.com/topic/dorothy-ashby

Toots Thielemans • Time out for Toots

Jean 'Toots' Thielemans (29 April 1922 – 22 August 2016) is widely regarded by most people as the most accomplished harmonica player in the world. Of course, that's not all he does and it would be a great injustice to label him as just a good harmonica player. If you are not into Jazz, you may not have heard of his name but you have probably heard his music many times and I suspect you liked it. He is equally good at playing guitar, the accordeon and many other instruments. For instance, you will never hear anyone whistle jazz better than Toots.

Born on 29 April 1922 in Brussels, he quickly got interested in music and was playing the accordeon at age 3. Later he started playing the harmonica and the guitar. He got seriously hooked on jazz in earnest during the German occupation and has been influenced predominantly by Django Reinhardt, another Belgian who invented a particular way of playing the guitar, and the legendary Charlie Parker. Other influences were Toots Mondello and Toots Camarata, resulting in Jean Thielemans being nicknamed 'Toots' early on in his career.

In an interview in 1983 with a Belgian radio station, he said : “My parents had a pub and each Sunday there was an accordionist. They have told me that when I was in my cradle, I already was imitating the gestures of the musician. One of the clients said “that kid wants to play accordion”. My father bought me a little cardboard accordion, and when I was three I got this little machine. (plays a little bit, accompanied by the barking of his little dog called Duke Yorkshire Ellington Thielemans)”.

He made his big breakthrough when he went on European tour with Benny Goodman in 1950. He moved to America in 1952 (and became a US citizen the same year) where he is extremely well-known, especially among the jazz community. Quincy Jones said this about him in 1995 : “I can say without hesitation that Toots is one of the greatest musicians of our time. On his instrument he ranks with the best that jazz has ever produced. He goes for the heart and makes you cry. We have worked together more times than I can count and he always keeps me coming back for more”. Toots hates his favourite instrument, the harmonica, being called a 'miscellaneous instrument'. Indeed, the late Clifford Brown said : “Toots, the way you play the harmonica they should not call it a miscellaneous instrument”.

His successes include harmonica solo contributions to film scores for Midnight Cowboy, The Getaway, Sugarland Express, Cinderella Liberty, Turks Fruit (Turkish Fruit), Jean de Florette and others. In 1962 he had a massive hit with 'Bluesette'. He also did many concerts and recordings with legends such as George Shearing, Ella Fitzgerald, Quincy Jones, Bill Evans, Jaco Pastorius, Natalie Cole, Pat Metheny, Paul Simon and Billy Joel. Many people also will remember him from the music used for the 'Old Spice' TV commercial.

Toots succeeded in doing something that is very difficult for Jazz musicians: being well-known by the general public and still practice high-class Jazz. Receiving the high appreciation of his peers and connoisseurs is no mean feat and Toots is regularly voted first in his category in the famous Down Beat Jazz Magazine in the USA by critics and public. In 1981, Toots suffered from a major stroke that left part of his body with little feeling. Today he has pretty much recovered from the stroke and admits that while he may not be able to play as many notes as he used to, he can still “play the good ones”. He has always suffered from asthma which makes his success even more remarkable.

Thielemans died in Braine-l'Alleud, Belgium, at the age of 94.

https://musicians.allaboutjazz.com/tootsthielemans

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Jean 'Toots' Thielemans (29 de abril de 1922 - 22 de agosto de 2016) es considerado por la mayoría de la gente como el intérprete de armónica más consumado del mundo. Por supuesto, eso no es todo lo que hace y sería una gran injusticia etiquetarlo sólo como un buen intérprete de armónica. Si no te gusta el Jazz, puede que no hayas oído su nombre, pero probablemente hayas oído su música muchas veces y sospecho que te gustó. Es igualmente bueno tocando la guitarra, el acordeón y muchos otros instrumentos. Por ejemplo, nunca oirás a nadie silbar jazz mejor que Toots.

Nacido el 29 de abril de 1922 en Bruselas, se interesó rápidamente por la música y tocaba el acordeón a los 3 años. Más tarde empezó a tocar la armónica y la guitarra. Se enganchó seriamente al jazz durante la ocupación alemana y ha sido influenciado predominantemente por Django Reinhardt, otro belga que inventó una forma particular de tocar la guitarra, y el legendario Charlie Parker. Otras influencias fueron Toots Mondello y Toots Camarata, lo que hizo que Jean Thielemans fuera apodado "Toots" al principio de su carrera.

En una entrevista en 1983 con una emisora de radio belga, dijo: "Mis padres tenían un pub y cada domingo había un acordeonista. Me han dicho que cuando estaba en mi cuna, ya imitaba los gestos del músico. Uno de los clientes dijo "ese chico quiere tocar el acordeón". Mi padre me compró un pequeño acordeón de cartón, y cuando tenía tres años me regaló esta pequeña máquina. (toca un poco, acompañado por el ladrido de su pequeño perro llamado Duke Yorkshire Ellington Thielemans)".

Hizo su gran avance cuando se fue de gira por Europa con Benny Goodman en 1950. Se trasladó a América en 1952 (y se convirtió en ciudadano estadounidense ese mismo año) donde es muy conocido, especialmente entre la comunidad del jazz. Quincy Jones dijo esto sobre él en 1995 : "Puedo decir sin dudarlo que Toots es uno de los más grandes músicos de nuestro tiempo. En su instrumento está entre los mejores que ha producido el jazz. Va al corazón y te hace llorar. Hemos trabajado juntos más veces de las que puedo contar y siempre me hace volver por más". Toots odia que su instrumento favorito, la armónica, sea llamado "instrumento misceláneo". De hecho, el difunto Clifford Brown dijo: "Toots, la forma en que tocas la armónica no debería llamarse un instrumento misceláneo".

Sus éxitos incluyen contribuciones en solitario de armónica a las partituras de películas para Midnight Cowboy, The Getaway, Sugarland Express, Cinderella Liberty, Turks Fruit (fruta turca), Jean de Florette y otros. En 1962 tuvo un gran éxito con 'Bluesette'. También realizó muchos conciertos y grabaciones con leyendas como George Shearing, Ella Fitzgerald, Quincy Jones, Bill Evans, Jaco Pastorius, Natalie Cole, Pat Metheny, Paul Simon y Billy Joel. Mucha gente también lo recordará por la música utilizada en el anuncio de TV de "Old Spice".

Toots logró hacer algo que es muy difícil para los músicos de Jazz: ser conocido por el público en general y seguir practicando el Jazz de clase alta. Recibir el gran aprecio de sus pares y conocedores no es una hazaña insignificante y Toots es regularmente votado como el primero de su categoría en la famosa revista de jazz Down Beat en los EE.UU. por los críticos y el público. En 1981, Toots sufrió un gran derrame cerebral que dejó parte de su cuerpo con poca sensibilidad. Hoy se ha recuperado bastante bien del derrame y admite que aunque no pueda tocar tantas notas como antes, todavía puede "tocar las buenas". Siempre ha sufrido de asma, lo que hace que su éxito sea aún más notable.

Thielemans murió en Braine-l'Alleud, Bélgica, a la edad de 94 años.

https://musicians.allaboutjazz.com/tootsthielemans

Harpdog Brown • Travelin' With The Blues

Charlie Musselwhite says "Harpdog Brown is all blues man!"

My good friend Harpdog Brown has a new CD out. He’s got a smokin’ band playing and he’s singing the real deal, old school blues just like you want to hear it. It’s easy to tell from listening that Harpdog knows what he’s doing and loves what he’s doing. I’m not applauding this CD just because I happen to have the honor of joining Harpdog on a tune…it really is some great smokin’ blues. Every tune is a winner. If you love the blues you won’t go wrong with this wonderful session. I LOVE the killer guitar playing! It’s hard to say what my favorite is but I gotta say I REALLY like Must’ve Been The Devil. I’ve always liked that tune and Harpdog does it great. I love his harp playing on this one especially. Home Is Where The Harp Is has a cool 8-bar blues groove and I love 8-bar blues progression. Fool Like Me, Hayward Boogie, Cloud Full Of Rain, Fine Little Girl, are all fine and For Better or Worse has especially good lyrics. What’s Your Name has some tasty first position harp playing. All in all I think you have a very satisfying album on your hands. I really enjoy listening to it again and again. The tune I did with Harpdog, Moose On The Loose, was a lot of fun. It’s got a good feel and good energy and I remember the fun we had recording it. Give it a listen. I hope hope you can hear the fun like I can. It was recorded the old school way…right off the floor….with fine old tube amps and the works…at Big Jon Atkinson’s studio, Bigtone in Hayward, CA. Jon knows how the blues are supposed to sound and he totally captured that sound with Harpdog and his great band. ~Charlie Musselwhite

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Charlie Musselwhite dice: "Harpdog Brown es todo blues man!"

Mi buen amigo Harpdog Brown tiene un nuevo CD. Tiene una gran banda tocando y está cantando blues de la vieja escuela tal y como quieres oírlo. Es fácil darse cuenta por escuchar que Harpdog sabe lo que está haciendo y le encanta lo que está haciendo. No estoy aplaudiendo este CD sólo porque tengo el honor de unirme a Harpdog en una canción....realmente es un gran blues. Cada canción es un ganador. Si te gusta el blues no te equivocarás en esta maravillosa sesión. Me encanta el toque de la guitarra asesina! Es difícil decir cuál es mi favorito, pero debo decir que me gusta mucho Debe haber sido el Diablo. Siempre me ha gustado esa melodía y Harpdog lo hace genial. Me encanta su armónica tocando en esta especialmente. Home Is Where The Harp Is tiene un groove cool de blues de 8 compases y me encanta la progresión del blues de 8 compases. Fool Like Me, Hayward Boogie, Cloud Full Of Rain, Fine Little Girl, todos están bien y For Better or Worse tiene letras especialmente buenas. What's Your Name tiene un sabroso armónica de primera posición. En general, creo que tienes un álbum muy satisfactorio en tus manos. Realmente disfruto escuchándolo una y otra vez. La melodía que hice con Harpdog, Moose On The Loose, fue muy divertida. Tiene una buena sensación y buena energía y recuerdo la diversión que tuvimos al grabarlo. Escúchalo. Espero que puedas oír la diversión como yo. Fue grabado a la antigua usanza....justo desde el suelo....con los amplificadores a válvulas y las obras...en el estudio de Big Jon Atkinson, Bigtone en Hayward, CA. Jon sabe cómo se supone que deben sonar los blues y capturó totalmente ese sonido con Harpdog y su gran banda. ~Charlie Musselwhite

www.harpdogbrown.com ...

Toots Thielemans ‎• The Soul Of Toots Thielemans

Review

This somewhat obscure date by the great jazz harmonica player Toots Thielemans also features the leader playing some fine guitar (most notably on "Lonesome Road") and taking one of his first whistling solos on "Brother John." With pianist Ray Bryant, bassist Tom Bryant and drummer Oliver Jackson completing the quartet, Thielemans is in excellent form introducing two of his originals and jamming such tunes as "You Are My Sunshine," "Nuages" and "Confirmation." The music on this enjoyable 1986 Doctor Jazz reissue LP of a Signature session is currently out of print.
by Scott Yanow

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Reseña
Esta fecha algo oscura del gran armónico de jazz Toots Thielemans también presenta al líder tocando alguna guitarra fina (más notablemente en "Lonesome Road") y haciendo uno de sus primeros solos de silbido en "Brother John". Con el pianista Ray Bryant, el bajista Tom Bryant y el baterista Oliver Jackson completando el cuarteto, Thielemans está en excelente forma introduciendo dos de sus originales y tocando temas como "You Are My Sunshine", "Nuages" y "Confirmation". La música de este agradable LP de 1986 de Doctor Jazz reeditado de una sesión de Signature está actualmente agotada.
por Scott Yanow

Frank Frost • Harpin' On It

Review by Stephen Thomas Erlewine

WestSide's 13-track collection Harpin' on It: The Complete Jewel Recordings compiles all of the songs Frank Frost cut for the Louisiana label in the mid-'60s. While these sides aren't as down-and-dirty as his earlier material for Sun, they're still enjoyable, revved-up juke joint blues. If anything, he stretches the form a little bit here, getting a little funkier with the rhythms, a little rockier in the guitar, and all the production sounds a bit more modern, more like the mid-'60s (which, ironically enough, means it doesn't sound as timeless as his earlier recordings). Throughout it all, Frost's great harp is front and center, and his playing is always first-rate, even when the material is a little pedestrian. Fortunately, he hit the mark more often than not while on Jewel -- most notably on instrumentals, plus the great Slim Harpo takeoff, "My Back Scratcher" -- which is why this is worth hearing.

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Reseña de Stephen Thomas Erlewine

La colección de 13 pistas de WestSide Harpin' on It: The Complete Jewel Recordings recopila todas las canciones que Frank Frost grabó para el sello de Louisiana a mediados de los 60. Aunque estas canciones no son tan deprimentes como su anterior material para Sun, siguen siendo un blues de juerga muy divertido. En todo caso, él estira un poco la forma aquí, poniéndose un poco más funky con los ritmos, un poco más rockero en la guitarra, y toda la producción suena un poco más moderna, más como a mediados de los 60 (lo que, irónicamente, significa que no suena tan intemporal como sus grabaciones anteriores). A lo largo de todo esto, la gran arpa de Frost está al frente y en el centro, y su forma de tocar es siempre de primera clase, incluso cuando el material es un poco vulgar. Afortunadamente, dio en el blanco la mayoría de las veces mientras estaba en Jewel - más notablemente en los instrumentos, además del gran despegue de Slim Harpo, "My Back Scratcher" - por lo que vale la pena escucharlo.

 

 

 

 

Mojo Buford • Still Blowin' Strong

 

 

 

Biography

The various bands led by harmonica player and singer George "Mojo" Buford hark back to the classic Chicago blues sounds of the early '60s. Among harmonica players, Buford has the distinction of being the only musician to have played with various bands led by the late Muddy Waters in the 1950s, '60s, '70s, and '80s. (Waters died in April 1981.) Buford left Mississippi for Memphis in his teens and honed his chops around Memphis before heading to Chicago in 1952. He began playing with Waters in Chicago in the late '50s, but by 1962 Buford relocated to Minneapolis, where he recorded several obscure albums for the Vernon and Folk-Art labels. He rejoined Waters' band in 1967 for a full year and then toured with him again in the early '70s, after harmonica player Jerry Portnoy left to form the Legendary Blues Band. By 1979 Buford was recording and touring around with bands under his own name. He recorded Mojo Buford's Blues Summit in 1979 for Mr. Blues, later reissued on the Rooster Blues label, and his 1990s recordings include Still Blowin' Strong and Harpslinger, both issued in 1996 by the Blue Loon Records label; a 1998 release for British blues label JSP Records entitled State of the Blues Harp; and a 1998 stateside release, Home Is Where My Harps Is, also for Blue Loon. More recently, he recorded a live album, Champagne & Reefer, in 1999 for New York-based Fedora Records and Chicago Blues Summit in 2002 for P-Vine Records. He continued to play until his death in October 2011.

by Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography

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Biografía

Las diversas bandas lideradas por el armónico y cantante George "Mojo" Buford se remontan a los clásicos sonidos del blues de Chicago de principios de los 60. Entre los armonicistas, Buford se distingue por ser el único músico que tocó en varias bandas lideradas por el fallecido Muddy Waters en los 50, 60, 70 y 80. (Waters murió en abril de 1981.) Buford dejó Mississippi para ir a Memphis en su adolescencia y se perfeccionó en Memphis antes de ir a Chicago en 1952. Empezó a tocar con Waters en Chicago a finales de los 50, pero en 1962 Buford se trasladó a Minneapolis, donde grabó varios discos oscuros para los sellos Vernon y Folk-Art. Se reincorporó a la banda de Waters en 1967 durante un año entero y luego volvió a girar con él a principios de los 70, después de que el armonista Jerry Portnoy se fuera para formar la Legendary Blues Band. En 1979 Buford estaba grabando y haciendo giras con bandas bajo su propio nombre. Grabó Mojo Buford's Blues Summit en 1979 para Mr. Blues, posteriormente reeditado por el sello Rooster Blues, y sus grabaciones de los años 90 incluyen Still Blowin' Strong y Harpslinger, ambas editadas en 1996 por el sello Blue Loon Records; un lanzamiento en 1998 para el sello británico de blues JSP Records titulado State of the Blues Harp; y un lanzamiento en 1998 en los Estados Unidos, Home Is Where My Harps Is, también para Blue Loon. Más recientemente, grabó un álbum en vivo, Champagne & Reefer, en 1999 para Fedora Records, con sede en Nueva York, y Chicago Blues Summit en 2002 para P-Vine Records. Continuó tocando hasta su muerte en octubre de 2011.

por Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography