To guests from Japan

私と私の友人sussexは日本の友達とのアルバムを交換したいと思う。
日本で発売されたBlues Albumを所蔵している人たちの多くのご連絡ください。
このブログに紹介されたアルバム以外にも多くのことを分けることがある。

Wednesday, June 8, 2011

Big Daddy Wilson - Thumb A Ride

Styles : Contemporary, Acoustic, Soul Blues
Released : 2011

01 - Thumb A Ride
02 - Baby Don't Like It
03 - This Is How I Live
04 - Anna Mae
05 - Sweet Tooth
06 - It Don't Get No Better
07 - Who's Dat Knocking
08 - Four Daughters And A Strong Loving Woman
09 - Cold Is The Wind
10 - Drop Down Here
11 - Way Back Yonder
12 - Brother Blood
13 - If You Were Mine


Biography
Big Daddy Wilson was born less than 50 years ago in a small town called Edenton, North Carolina. The population of Edenton counts less than 6000, 55% African Americans, 25% below the poverty line. “We were very poor but I had a very beautiful childhood“, Wilson remembers. “Me and my sisters were raised by Mom and Grandma. We lived a simple life, we went to church every Sunday, school on weekdays. I also worked back then on the tobacco plantation and in the cotton fields, I was a real country boy.“ Wilson sang in church but he never thought about going on stage. “I was extremely shy.“ His guardians meant well for the fatherless boy and they often sent him to church also during the week. “That won´t hurt him, keeps little Wilson away from drugs and off the streets.“
Young Wilson quit school at 16, and sometime later joined the US Army. Being a poor black man in the south and living in a small town, jobs were scarce. After being stations in Germany, the young man became homesick. “I found out the quickest way to go back home was to see that you got married. They’ll allow you a vacation time about two weeks to go home to get married. Wilson convinced his officers of his impending wedding and returned Stateside, refusing to return to Germany. After six weeks his mom was so worried that she begged him to go back to the military. “And so I was back in Germany.“

A few years later Wilson met a German girl who became his wife. She is the reason for him staying and also the reason for a poem which became Wilson´s first song.

And then Wilson heard the blues for the first time. Back in Edenton he had listened to music only in church and from the local, country radio station. But now he went for the first time to a real blues concert. “I met the blues here in Germany. I didn’t know what the blues was before“ Big Daddy Wilson says. “It was here that I found a part of me that was missing for so long in my life.“ It did not take long and the shy guy who had written some poems started looking for melodies. He went on stage, jammed all over the German blues scene and made an impression with his warm and soulful voice. He began touring with bands and as a duo and even released a few records. “My sister came all the way to see me perform and she couldn’t believe it. No, that’s not my brother. It seems like all my shyness was gone ? thanks to my music. “

Champion Jack Dupree, Louisiana Red, Eddie Boyd... many musicians who made Europe their home and brought the blues with them succeeded here better than in the U.S. Even Luther Allison lived in Europe for 14 years before his big break.

And now there´s Big Daddy Wilson, an American singer and songwriter who found his home in northern Germany. But something is different regarding Big Daddy Wilson. When he came over from the U.S. there was no blues in his baggage. He initially discovered the blues here in Germany which is where he will begin his international career.
With his international solo debut on RUF Records Big Daddy Wilson is going to take one step further in his late career as a musician. For “Love Is The Key“ he recorded his own songs exclusively with a small band; taking it back to the roots, often reduced to acoustic instruments, but always full of soul. You can listen to his very first song here,“ Anna“ the song about his wife. Gospel is the foundation for “Keep Your Faith In Jah“, but this doesn’t keep the songwriter Wilson from praising the talents of a gypsy queen from New Orleans, “Jazzy Rose“. In “Hard Days Work“, Big Daddy uses monotone drones for hypnotic effects on the listener, while breezy off beats Jamaica-style let “Dreaming“ to swing along. Autobiographic aspects can be found elsewhere: “Ain´t No Slave“reminds us of the African-American history and at the same time makes us aware of Wilson’s grown confidence. His good friend Eric Bibb guests on two songs about Wilson’s roots ,”Country Boy” , “Walk A Mile In My Shoes”. He’s very proud of Bibb´s presence because “I’ve learnt so much from him,” says Wilson.


Release Notes
After the positive responds and success of the "Love Is The Key" CD and the "Love Is The Key Tour" the mission was simple and clear to me, to use this platform to spread love everywhere I go. The goal was to produce a fully acoustic CD, using the guys that I am on the road with "The Big Daddy Wilson Trio". Singing and playing the songs that my forefathers played. Using this special gift that "The Almighty" gave me.

That is why this new album is so special to me, it is really the second leg of the "Love Is The Key Tour". The journey "Thumb A Ride". It is not about where you have been or where you are going, it is all about the journey. It is about what you have learned along the way, and who you may have touched and those who have touched you. On this journey I have been blessed and touched by so many beautiful people.

I just cannot name them all. But right now, I am thinking about two great musicians, that I have the chance to ride with, who have inspired and influenced me and the songs of this CD in a great way. I am talking about my right and left hand: Mr. Jochen "Skinny Joe" Bens and Mr. Michael "Big Chief" van Merwyk.

I am very proud and happy to say that all songs on this CD are composed by the "Big Daddy Wilson Trio". And that is why I call this one "Thumb A Ride", cause it is all about the journey. Now, "After all is said and done, more is always said than done" let us do this. Feel me! ~Ruf Records.


from Dreumis

Monday, June 6, 2011

The Blackschu Band - A Touch Of Anarchy

Styles : Boogie Woogie, Piano Blues, Contemporary Jazz
Released : 2008

01 - Beat St
02 - I Feel So Good
03 - Beer Drinkin` Woman
04 - Sister Sadie
05 - Blues For Ben
06 - Alright, Okay, You Win
07 - Key To The Highway
08 - Tuxedo Junction
09 - Jumpin` At The Woodside

All three members of this group have a wealth of professional experience with (literally) thousands of gigs between them.
John Black and Ben Schumann formed the BlackSchu Band in 2004 with the main objective of enjoying every note played. This has largely been achieved. In 2007 they embarked on a project of playing blues and boogie without guitar or bass. While seeming foolhardy to some, it did fulfill the main objective of being really enjoyable. Featuring Richard Booth on sax, they went on to record their first CD at ArtSound recording studios in a session that is said to have had the musicians ‘tearing up’ the floor from the first note to the last.

The BlackSchu Band plays classic boogie-woogie infused with blues and jazz. Every note counts with their infectious grooves, heartfelt vocals and wailing solos.

Personnel
John Black - vocals and piano
Ben Schumann - drums
Richard Booth - sax

Sunday, June 5, 2011

California Blues - Magia Negra


Styles : Modern Electric Blues
Released : 2010

01 - Volver Contigo
02 - Que Pasará Mañana
03 - Funky
04 - Duele
05 - Tú y Yo
06 - Nada de Nada
07 - Adios
08 - Mi ángel
09 - Contigo
10 - Te Perdí

California Blues(Mexico) fusion is like the musical rhythms of blues, ballad and rhythm and blues. they've introduced a clean and simple sound of blues.

Saturday, June 4, 2011

Boogie Busters - Boogie Busters

Styles : Piano Blues, Boogie Woogie, Harmonica Blues
Released : 1996

01 - Chicago Breakdown
02 - Cherry Red
03 - Blue Note
04 - The Sun is Gonna Shine
05 - How Do You Feel
06 - Hound Dog
07 - Early in the Morning
08 - Boogie Woogie Stomp
09 - No Dog No More
10 - You Don't Know Me
11 - Keep Your Hands off Her
12 - Mojo Boogie
13 - Bye, Bye Baby (Bonus Track)

The only two people playing, creating a fantastic sound shows on this album.
Simple, but a feeling of deep blues very well played
Strong recommend if you like harp blues and boogie woogie.

Personnel
Klaus Müller - Piano,Vocal
Alex Kühne - Harp,Alto Sax, Vocal

*Is there anyone who can help the band information?

Friday, June 3, 2011

Big Jay McNeely & The Rocket 88s - AZ Bootin'

Style: Jump Blues, West Coast Blues, Jazz Blues, Early R&B
Released : 1988

01 - Gila Moon
02 - Zydeco Stroll
03 - Summertime
04 - Phoenix Hambone
05 - All That Wine is Gone
06 - Short on Bread
07 - Young Girl Blues
08 - Mercury Falling
09 - Mean Man Blues
10 - Camelback Drive
11 - Beg Jay's Shuffle
12 - Scooby-Doo Blues

 His mighty tenor sax squawking and bleating with wild-eyed abandon, Big Jay McNeely blew up a torrid R&B tornado from every conceivable position — on his knees, on his back, being wheeled down the street on an auto mechanic's "creeper" like a modern-day pied piper. As one of the titans who made tenor sax the solo instrument of choice during rock's...
...More his mighty tenor sax squawking and bleating with wild-eyed abandon, Big Jay McNeely blew up a torrid R&B tornado from every conceivable position — on his knees, on his back, being wheeled down the street on an auto mechanic's "creeper" like a modern-day pied piper. As one of the titans who made tenor sax the solo instrument of choice during rock's primordial era, McNeely could peel the paper right off the walls with his sheets of squealing, honking horn riffs.

 Cecil McNeely and his older brother Bob (who blew baritone sax lines with Jay in unison precision on some of Jay's hottest instrumentals) grew up in Los Angeles, where jazz reigned on Watts' bustling nightlife strip. Inspired by Illinois Jacquet and tutored by Jack McVea, McNeely struck up a friendship with Johnny Otis, co-owner of the popular Barrelhouse nitery. Ralph Bass, a friend of Otis, produced McNeely's debut date for Savoy Records in 1948 (Savoy boss Herman Lubinsky tagged the saxist Big Jay, in his eyes a more commercial name than Cecil). McNeely's raucous one-note honking on "The Deacon's Hop" gave him and Savoy an R&B chart-topper in 1949, and his follow-up, "Wild Wig," also hit big for the young saxist with the acrobatic stage presence.

 From Savoy, McNeely moved to Exclusive in 1949, Imperial in 1950-1951, King's Federal subsidiary in 1952-1954 (where he cut some of his wildest waxings, including the mind-boggling "3-D"), and Vee-Jay in 1955. McNeely's live shows were the stuff that legends are made of — he electrified a sweaty throng of thousands packing L.A.'s Wrigley Field in 1949 by blowing his sax up through the stands and then from home plate to first base on his back! A fluorescently painted sax that glowed in the dark was another of his showstopping gambits.

 In 1958, McNeely cut his last hit in a considerably less frantic mode with singer Little Sonny Warner. The bluesy "There Is Something on Your Mind" was committed to tape in Seattle but came out on disc jockey Hunter Hancock's Swingin' imprint the next year. McNeely's original was a huge smash, but it was eclipsed the following year by New Orleans singer Bobby Marchan's dramatic R&B chart-topping version for Fire. Since then, it's been covered countless times, including a fine rendition by Conway Twitty!

 Honking saxists had fallen from favor by the dawn of the '60s, so McNeely eventually became a mailman and joined Jehovah's Witnesses (no, that's not the name of a combo). Happily, his horn came back out of the closet during the early '80s. McNeely went on to record for his own little label and tour the country and overseas regularly.

Wednesday, June 1, 2011

Chris Harland Blues Band - Chris Harland Blues Band

tyles : Modern Electric Blues
Released : 2010

01 - Honey Hush
02 - My Love For You
03 - Five Long Years
04 - Hume Highway Blues
05 - Crossroads
06 - Blues Guitar

Chris Harland, blues vocalist and guitarist, formed the CHBB in Brighton, England in October 2003. Joined by Christopher Harland playing Bass Guitar they initially performed as a duo until March 2004 when they were joined by Mike Townsend on drums. Their articulate and sensitive playing demonstrated influences from masters of the blues such as Robert Johnson, Freddie King, Buddy Guy and Eric Clapton. CHBB played an exciting mixture of original songs and cover versions of blues classics with the sound and musical style of the Chicago Electric Blues. During 2004-2007, the trio played over 100 live performances and produced two albums. In June 2007, the band retired and Chris took his blues to Canberra in Australia. Mike Townsend is now playing Rock 'n' Roll and Christopher Harland is taking a rest from live performance.

The simplest formula. The maximum impact. The Chris Harland Blues Band has the command and the precision to nail every number they play. Every CHBB set remains a memorable, musical event, revisiting the best of the Blues standards: B.B. King, Buddy Guy, Muddy Waters the list is long, the excitement sustained.

UK guitarist Chris Harland brought to Oz the tradition of British-made Electric Blues, the authentic riff-driven Chicago sound, a high-voltage heritage of Eric Clapton and Jeff Beck, Jimmy Page and Peter Green.

Bassist Paul Leeder has backed the best: Jeff St John, Wendy Saddington, Angry Anderson, the O'onnell Brothers. Paul's bass drives The Chris Harland Blues Band like a diesel locomotive, smooth and strong as a polished steel rail.

Mitch has been on the live music scene since 1975. He's just about played it all: rock, jazz, blues, reggae, funk, country, big band - even the odd stage production.

The CHBB sound is strong; assured; enticing. When this trio works a room, people buy another drink, move towards the music, applaud and shout for more and they spread the word.

Personnel
Chris Harland - Guitar & Vocals
Rick Millband - Drums
Paul Leeder - Bass Guitar

Blues Divine - Shine Like The Sun

Styles : Contemporary Blues, Soul Blues
Released : 2009

01 - Knockin'
02 - Down By The River
03 - Don't Settle For Less
04 - Apocalypse Blues
05 - La Breakdown
06 - Brother, Sister
07 - Axle Grease
08 - Sure Sign
09 - My Father's House
10 - Shine Like The Sun
11 - Sacred Ground


Rooted in the deep southern tradition, Blues Divine, with the leadership of writer, singer and guitarist, Philip Franchini, brings new blood to the blues. His songs are soulful and the vocal arrangements and funky horns are brimming with energy on this new CD.

Pulling in influences from Magic Sam to Robert Johnson and Elmore James, Blues Divine easily moves from contemporary electric to sparse acoustic blues, delivering passionate, evocative performances.

On their second effort Shine Like The Sun, Blues Divine creates a textured album. All of the songs are firmly rooted in the blues, but Blues Divine makes the most of its wide variety of talented musicians to write uniquely arranged songs that make the typical blues sound more interesting. Shine Like The Sun is an album for fans of the blues and clever song writing alike.

Blues Divine definitely proves they can play blues with everything fans of the genre are looking for on the opener “Knockin.” The track has a classic blues feel thanks to punchy, funky guitar rhythms and strong solos. Piano and sax melodies fill the track out perfectly. “Knockin” may sound like what you’d expect out of a blues band, but it doesn’t change the fact that the song is well played and will be instantly enjoyed by blues fanatics.

Likewise, the lively rhythms and powerful sax parts of “Don’t Settle For Less” is an example of the blues at its best. The track also benefits from powerful, choir vocals. Following “Don’t Settle For Less” is “Apocalypse Blues”, another song that blues fans will find impossible not to enjoy. Here, Blues Divine keeps the infectious guitar and horn melodies that drive the album. However, the song features a greater emphasis on piano and organ that separates it from many of the other tracks.

At other points on Shine Like The Sun, Blues Divine adds elements from other genres to their blues foundation. “Down By The River” starts with an organ solo that’s straight out of gospel. The up-stroked guitar rhythms of the song also give off a pleasant reggae vibe. The mixing of styles really helps to distinguish Blues Divine from other bands in their genre.

Later, Blues Divine has success mixing styles again on “LA Breakdown.” The track benefits from a bass line that’s pure 70’s funk. Once again, Blues Divine becomes instantly more intriguing by getting outside the normal blues sound. Blues Divine even has success with a country/bluegrass sound on the title-track “Shine Like The Sun.”

Over all, Blues Divine has all the classic blues elements that a fan of the genre could want on Shine Like The Sun. The band also does a great job of standing out from other blues groups by freely mixing styles.

Band
Philip Franchini
Rob Sherman - keys
Geoff Nudell - horns
Keith Lewis - bass
Nailah Porter and C.C. White - vocals