Craft Recordings 17 Titel The Thousand Incarnations Of The Rose American Primitive Guitar & Banjo, 1963-1974 ´´American Primitive´´ ist ein ursprünglich geprägter Begriff für einheimische Maler des 18., 19. und 20. Jahrhunderts, die autodidaktisch und nicht akademisch ausgebildet waren. Eine Art naiver Charme, der Eigenschaften wie eine verzerrte Perspektive, eine manchmal neugierige Wiedergabe der Anatomie und eine ungeschliffene Verwendung von Farbe und Modellierung beinhaltet, kennzeichnet ihre Arbeit. (Edward Hicks, dessen Peaceable Kingdom Gemälde bekannt sind, ist ein gutes Beispiel für einen amerikanischen primitiven Maler. Soweit ich sagen kann, taucht der Begriff zuerst in den Titeln der Bücher auf: Some American Primitives (Clara Endicott Sears, 1941), American Primitive Painting (Jean Lipmann, 1942) They Taught Themselves: American Primitive Painters of the 20th Century (Sidney Janis, 1942). Aber wer hat den Begriff ursprünglich auf die Musik von John Fahey angewandt? (Und bevor wir weitergehen, lassen Sie uns bitte auf den ´´amerikanischen Primitivismus´´ verzichten, der nicht dasselbe ist wie der ´´amerikanische Primitivismus´´. Wo ist der Unterschied? Nun, um eine andere Analogie aus der Welt der Malerei zu verwenden, als Picasso, nachdem er 1907 das Trocadero-Museum für Völkerkunde in Paris besucht hatte, begann, die afrikanische Kunst-Ikonographie in sein eigenes Werk zu integrieren, beschäftigte er sich mit dem ´´Primitivismus´´, das heißt, er war ein formell ausgebildeter Künstler, der sich von der sogenannten primitiven Kultur inspirierte. Fahey und Co. waren nicht im Primitivismus tätig. Obwohl alle Spieler hier große Ohren haben und von dem, was sie gehört haben, beeinflusst wurden, haben sie sich ihre eigenen Techniken, Stimmungen und ästhetischen Ansätze ausgedacht, um am besten zu sagen, was sie sagen wollten. Sie waren hauptsächlich autodidaktische Spieler - nicht geschulte Spieler, die autodidaktische Spieler nachahmen.
Craft Recordings 17 TitelThe Thousand Incarnations Of The Rose American Primitive Guitar & Banjo, 1963-1974 ´´American Primitive´´ ist ein ursprünglich geprägter Begriff für einheimische Maler des 18., 19. und 20. Jahrhunderts, die autodi
English, Paperback, 23x30 cm, 162 pages, complete illustrated in color and b&w - To trace the evolution of the American guitar is to embark on a fascinating musical and cultural journey - a give-and-take between musicians and instrument makers that produced America´s most popular music and its quintessential instrument. Vintage Guitars: The Instruments, the Players, and the Music is the first pictorial reference work to offer guitar enthusiasts, players, and collectors and opportunity to explore this rich, synergistic relationship between builders and artists, between instruments and music. Vintage Guitars features the elegant American guitars of the 19th century, the evolving dreadnought, jumbo, 12-string, archtop, resophonic, and more - the original instruments as well as contemporary incarnations and reissues. The book spotlights the guitars of Leadbelly, Jimmie Rodgers, the Everly Brothers, Tony Rice, Emmylou Harris, Ben Harper, and others. Written by such guitar authorities as Richard Johnston, George Gruhn, and Rick Turner, Vintage Guitars is generously illustrated with more than 150 photographs of players, instruments, catalog pages, and other memorabilia.
(2B1 Records/1999) 11 tracks Original Wailers organist-keyboardist Earl `Wya´ Lindo is still bubbling with his trademark funky syncopated peculating playing. He has been through it all too, from his early days at Coxsone Dodd´s Studio One (Jamaica´s Motown). an uncountable number of recording sessions with every star Jamaica has to offer, to his unification with the Wailers where he has remained through all of it´s incarnations. Al Anderson is the United States born blues rock reggae guitarist who has been with the Wailers from the days of the Natty Dread, it was his auditions for the Natty Dread album that captured Bob´s ear and drew his encouragement to ´Just Play The Blues´. Al´s guitar sound is a note bending soulful skank that can burn through heavy metal with blistering solos and smolder into colorful jazz chords. The dynamic new vocalist for the legendary Wailers, known affectionately as the Young Lion, is Elan Attias, a United States born. Israeli raised, Los Angeles based. self taught singer that speaks three dif-ferent languages and several dialects. Al Anderson discovered the Young Lion singing in the back seat of a car, he was brought in for an audition. The Young Lion has never had any formal vocal training but has always loved Bob´s music and knew every word by heart. The audition/debut was so naturally impressive that he was hired and began immediately touring with the Wailers to rave reviews. often being mistaken as one of Bob´s sons. The Young Lion´s vocals have a soulfully raw, guttural sweetness, that can wail with the best of them and adheres to Marley´s lyrics like they were his own. By the time the Wailers hit the stage, the entire audience was on it´s feet, shouting, chanting and skunk-ing. The Young Lion and the Wailers answered the call by giving it all to them, churning up hit after hit, interspersed with a few varieties of songs that Bob never performed live in concert. ´Guiltiness´, the hauntingly poignant piece from the Exodus album, ´Rat Race´ from Rastaman Vibration and the song the Wailers recorded just as a single on news of the passing of Emperor Haile Selassie I of Ethiopia. ´Jah Live´, which had new life breathed into by the Young Lion´s exuberant bouncing. skanking and cajoling of the audience into repeated cheers, screams, shouts, sing-a-longs and lighters flashing. Hear the Young Lion riff from the ominous ´Heathen´ into ´Heart of a Lion´, the Lyrics of dance hall king Shabba Ranks, he chants ´Exodus´ and medleys it into Punky Reggae Party´. that he then riffs into a ´Roots Reggae Party´. dubbing out the punky. ´Get Up, Stand Up´ is given a new updated arrangement with some slinky/kinky Al Anderson jazz fusion chord progression. It is so good to hear the Wailers in this pivotal juncture in their long and winding career, as they move forward with new transitions on traditions, documenting the spine tingling vibes of their live performance with an awesome (every time) 2b1 recording.
(1950s ´Atomic H´) (62:18/23) Eddy Clearwaters Onkel, Pfarrer H.H. Harrington, betrieb in den 50ern in seiner Kirche ein Aufnahmestudio und Label. Spannendes Album mit teils wildem Zeug, vieles davon unveröffentlicht With Eddy Clearwater, Sunnyland Slim, Morris Pejoe, Henry Gray, Jo Jo Williams, Little Mack Simmons and others. An explosion of nuclear-powered Chicago blues from 1958-´60 Atomic-H masters including many previously unissued recordings! A full hour containing 23 songs, most of which are not on the LP version. Atomic-H Records was a tiny label that recorded blues and gospel but only issued a few 45s. It was owned and operated by Rev. Houston H. Harrington who was also Eddy Clearwater´s uncle and was responsible for Eddy making his way to Chicago from Alabama. The CD of Chicago Ain´t Nothin´ But A Blues Band features new descriptive notes containing additional information about Atomic-H and personnels. ATOMIC-H RECORDS Let´s Us Do The Recording So stated the sign adorning the window of Rev. Houston H. Harrington´s church at 4314 W. 16th St on Chicago´s West Side. The reverend issued his share of gospel material during his long tenure as owner of Atomic-H. but the label´s fame resides in its blues activ-ities of the late 1950s. Rev. Harrington. you see. was a gentleman of wide-ranging musical interests. Born in Macon, Mississippi on March 3. 1924. Harrington dabbled in home recording down south but never issued anything on wax until well after he arrived in Chicago during the mid-1940s. The first Atomic sin-gle (the H came later), cut in late 1953 in Harrington´s basement studio at 1651 S. Trumbull and likely issued sometime in ´55. was credited to *lick & His Trio´´ (act-ually Homesick James). Harrington made countless demos for aspiring artists during the ´50s: legend has it that Chuck Berry, Magic Sam (it´s been suggested that the previously unissued and unidentified ´´Why Did We Have To Part?´´ on this album just may be Magic Sam), and the Staple Singers all utilized his facilities. Around 1958. Harrington grew more serious about his enterprise, releasing singles over the next few years by Jo Jo Williams, Eddy Clearwater. Morris Pejoe, Mighty Joe Young. Johnny Rogers. Tall Paul Hankins, and other Windy City blues artists on Atomic-H. He also issued a few of his own sermons, sometimes billing himself as ´´Rev. H.H. Harrington, God´s Star:´ The versatile preach-er also played violin and dreamed up unusual inven-tions—he drew up blueprints for a ´´Vertical Rising Jet Air Craft´´ and held a patent on ´´The World´s First Flying Submarine.´´ Delmark compiled an anthology of Atomic-H materi-al in 1972, but even if you own Chicago Ain´t Nothin´ But a Blues Band in its vinyl incarnation, this digital ver sion boasts more than its share of revelations—its pro-gramming has been changed and expanded. Many tracks are previously unissued: others haven´t seen light of day since Harrington pressed up his standard run of 500 copies on each single (ensuring instant collector´s item status for all). Rev. Harrington was a musical inspiration to his nephew Eddy even before the lean and lanky teen moved to Chicago in 1950. He bought Eddy an acoustic guitar when the youth was still living in Birmingham, Alabama. Billed initially on the West Side as Guitar Eddy, the southpaw adopted a new handle in 1957 when drummer Jump Jackson officially dubbed him Clear Waters as a takeoff on Muddy´s distinctive moniker. ´´My uncle was a big encouragement,´´ says Clear-water, long a Windy City blues mainstay. ´´He was the cause of me coming to Chicago, as a matter of fact. He was here already, and he had met people like Howlin´ Wolf. Elmore James. Little Walter. Little Mack Simmons. Muddy Waters. So he wrote me a letter saying, ´If you come to Chicago. you´ll get a chance to meet these peo-ple, and you could possibly broaden your horizons: I said. ´Send me a ticket!´ So he did. Sent me a ticket on a Greyhound bus, and I was on my way.´´ Eddy´s first two Atomic-H singles were credited to Clear Waters. In ´58 he entered Balkan Studios in suburban Berwyn to cut the jumping ´´Boogie Woogie Baby´´ (Lazy Bill Lucas pounds out some storming piano) and the rollicking Chuck Berry-tinged rocker ´´Hillbilly Blues.´´ His 1959 encore coupled the slashing West Side minor-key instrumental -A-Minor Cha-Cha´´ with a bouncy ´´I Don´t Know Why:´ They´re joined by two unissued Clearwater outings: ´´Neck-bones Everyday´´ salutes a downhome culinary delight,