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“Brook Benton – Rainy Night in Georgia” 

“Brook Benton – Rainy Night in Georgia” 

“Rainy Night in Georgia” is a song written by Tony Joe White in 1962 and popularized by R&B vocalist Brook Benton  in 1970.

In a January 17, 2014 interview with music journalist Ray Shasho, Tony Joe White explained the thought process behind the making of ”

Rainy Night in Georgia ” and “Polk Salad Annie”.

When I got out of high school I went to Marietta, Georgia, I had a sister living there. I went down there to get a job and I was playing guitar too at the house and stuff. I drove a dump truck for the highway department and when it would rain you didn’t have to go to work. You could stay home and play your guitar and hangout all night. So those thoughts came back to me when I moved on to Texas about three months later. I heard “Ode to Billie Joe” on the radio and I thought, man, how real, because I am Billie Joe, I know that life. I’ve been in the cotton fields. So I thought if I ever tried to write, I’m going to write about something I know about. At that time I was doing a lot of Elvis and John Lee Hooker onstage with my drummer. No original songs and I hadn’t really thought about it. But after I heard Bobbie Gentry I sat down and thought … well I know about Polk because I had ate a bunch of it and I knew about rainy nights because I spent a lot of rainy nights in Marietta, Georgia. So I was real lucky with my first tries to write something that was not only real and hit pretty close to the bone, but lasted that long. So it was kind of a guide for me then on through life to always try to write what I know about.

In 1969, after several years without a major hit, Benton had signed to a new record label, Cotillion Records (a subsidiary of Atlantic Records). Brought to the attention of producer Jerry Wexler, Benton recorded the song in November 1969 with producer Arif Mardin session personnel present on the hit record included Billy Carter on Organ, Dave Crawford on piano, Cornell Dupree and Jimmy O’Rourke on guitar, Harold Cowart on bass, Tubby Ziegler on drums, and Toots Thielmans on harmonica.

Taken from his “come-back” album

Brook Benton

Today, the melancholy song became an instant hit. In the spring of 1970, the song had topped the Billboard Best Selling Soul Singles chart. It also reached number four on the Billboard Hot 100,[1] and number two on the Adult Contemporary chart. In Canada, the song made #2 on the RPM Magazine Hot Singles chart.

The RIAA certified the single gold for sales of one million copies. In 2004, it was ranked #498 on the List of Rolling Stone’s 500 Greatest Songs of All Time.

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“AUDRA MAE Blues In The Night” 

“AUDRA MAE Blues In The Night” 

Audra Mae is an American singer and songwriter from Oklahoma City, Oklahoma, born on February 20, 1984. She is the great-great-niece of Judy Garland, and a great granddaughter of Garland’s sister Jimmie.

Blues in the Night” is a popular bluessong which has become a pop standardand is generally considered to be part of the Great American Songbook. The music was written by Harold Arlen, the lyrics by Johnny Mercer, for a 1941 film begun with the working title Hot Nocturne, but finally released as Blues in the Night. The song is sung in the film by William Gillespie.

Arlen and Mercer wrote the entire score for the 1941 film Blues in the Night. One requirement was for a blues song to be sung in a jail cell.[2] As usual with Mercer, the composer wrote the music first, then Mercer wrote the words. Arlen said,

The whole thing just poured out. And I knew in my guts, without even thinking what Johnny would write for a lyric, that this was strong, strong, strong! When Mercer wrote “Blues in the Night”, I went over his lyric and I started to hum it over his desk. It sounded marvelous once I got to the second stanza but that first twelve was weak tea. On the third or fourth page of his work sheets I saw some lines—one of them was “My momma done tol’ me, when I was in knee pants.” I said, “Why don’t you try that?” It was one of the very few times I’ve ever suggested anything like that to John.[citation needed]

When they finished writing the song, Mercer called a friend, singer Margaret Whiting, and asked if they could come over and play it for her. She suggested they come later because she had dinner guests—Mickey RooneyJudy GarlandMel Tormé, and Martha Raye. Instead, Arlen and Mercer went right over. Margaret Whiting remembered what happened then:

They came in the back door, sat down at the piano and played the score of “Blues in the Night”. I remember forever the reaction. Mel got up and said, “I can’t believe it.” Martha couldn’t say a word. Mickey Rooney said, “That’s the greatest thing I’ve ever heard.” Judy Garland said, “Play it again.” We had them play it seven times. Judy and I ran to the piano to see who was going to learn it first. It was a lovely night.

Wikipedia.org

 
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Posted by on December 1, 2017 in blues, female vocalist

 

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Angelina Jordan – a seven-year-old sings ‘Fly Me To The Moon’ 

Angelina Jordan – a seven-year-old sings ‘Fly Me To The Moon’ 

This 7-year old gives a “bravo” performance in 2014 singing Fly Me To The Moon  on Senkveld The Late Show… 

On a March appearance on Norwegian late-night show Senkveld, the 7-year-old Norway’s Got Talent alum sang Sinatra’s classic “Fly Me to the Moon” in a jazzy style that belied her young age. (She has since turned 8.)

Maybe it’s her accent, but something about Jordan’s singing is able to transport us back to the smoky bars of the 1950s, a time when men wore hats and women were “gals.”  people.com


Enjoy!

Despite being born years after Ol’ Blue Eyes’s death, Norway’s Angelina Jordan has done Frank Sinatra‘s memory proud.

 

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Maria MULDAUR – (bluegrass) Don’t You Feel My Leg

Maria MULDAUR – (bluegrass) Don’t You Feel My Leg

From her early 1960s jug band recordings to the present day, Maria Muldaur stands unique in her ability to transcend categorization. For over forty years, Muldaur has shared her deep love of roots music. By carefully selecting her repertoire from the best North American songwriters, she has encompassed the blues of the Mississippi Delta, New Orleans gospel and jazz, Western Swing, Appalachian bluegrass/country and everything in between. Best known for her 1973 hit, “Midnight At The Oasis,” Muldaur has always been much more than a sexy one-hit wonder. Blessed with a voice that remains convincing regardless of the genre she chooses to tackle, her performances are a study in American musicology.

This performance, recorded at the legendary Trobadour in Los Angeles, followed the release of Maria Muldaur’s second solo album, Waitress In A Donut Shop. Unlike the majority of her live performances from this classic era, it captures one of the handful of concerts where she was not backed by her usual band of hippie renegades. Instead, this rare performance features Muldaur accompanied by seasoned jazz musicians, who provide an infectious big band feel that swings in all the right places.

None other than the legendary Benny Carter directed Muldaur’s band on this run. Admired as virtually any jazz musician ever, Carter was a contemporary of Duke Ellington (who he played with early in his career) and Count Basie and was universally respected for his abilities as a composer, musician and bandleader. Muldaur’s ensemble on this night featured the likes of Harry “Sweets” Edison and Snooky Young on trumpets and trombonist extraordinaire, J. J. Johnson. This set also captures Muldaur at her commercial peak, performing genre-breaking music with a stellar big band before a very appreciative audience.

Right from the start, Muldaur sets a swinging mood, opening with her take on Fats Waller’s “Squeeze Me,” followed by Jimmy Rogers’ classic “Any Old Time,” a song she recorded on her self-titled first album. The bluesy “Gee Baby, Ain’t I Good To You,” follows. Here Muldaur finds the perfect balance between sweet and sexy, with the musicians providing the perfect backdrop. Up next is “Sweetheart,” the song that contained the lyric that provided the title of her album, Waitress In A Donut Shop. This was one of two songs that Benny Carter and his band actually recorded on that album. Hearing a live rendition, featuring virtually the same musicians as the studio session, is quite the treat. Following this, Muldaur takes a break and encourages the band to do their own thing on Benny Carter’s original composition, “Doozy.”

By this point, everyone is well warmed up and the set kicks into high gear. The classic “It Don’t Mean A Thing (If It Ain’t Got That Swing)” is a perfect vehicle for Muldaur, taking the performance to the next level. This is such an obvious match, that one can only wonder why she didn’t record it for the album. Her smoldering take on Billy Holliday’s “Lover Man (Where Can You Be)” slows things down, while digging deeper into the emotional nuances of her voice. Her charm is undeniable and the performance is thoroughly engaging. Muldaur wouldn’t get around to releasing this song until almost a decade later. This performance easily stands up to her finest material from this era.

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Posted by on November 17, 2017 in 1960s, blues, folk music, jazz, other

 

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“Any Old Time – Maria Muldaur” 

“Any Old Time – Maria Muldaur” 

Muldaur began her career in the early 1960s as Maria D’Amato, performing with John Sebastian, David Grisman, and Stefan Grossman as a member of the Even Dozen Jug Band. She then joined Jim Kweskin & the Jug Band as a featured vocalist and occasional violinist. During this time, she was part of the Greenwich Village scene that included Bob Dylan, and some of her recollections of the period, particularly with respect to Dylan, appear in Martin Scorsese‘s 2005 documentary film No Direction Home.

She married fellow Jug Band member Geoff Muldaur, and after the Kweskin group broke up, the two of them produced two albums. She began her solo career when their marriage ended in 1972, but retained her married name.[3]

Her first solo album, Maria Muldaur, released in 1973, contained her hit single “Midnight at the Oasis“, which reached number 6 on the Billboard Hot 100 in 1974. It also peaked at number 21 in the UK Singles Chart.[4] Later that year, she released her second album, Waitress in a Donut Shop. This included a re-recording of “I’m a Woman“, the Leiber and Stoller number first associated with Peggy Lee and a standout feature from her Jug Band days. The title of this album is taken from a line in another song on the album, “Sweetheart”, by Ken Burgan.

Around this time, Muldaur established a relationship with the Grateful Dead. Opening for some Grateful Dead shows in the summer of 1974, with John Kahn, bassist of the Jerry Garcia Band, eventually earned her a seat in that group as a backing vocalist in the late 1970s. Around the same time Muldaur met and eventually collaborated with bluegrass icon Peter Rowan. The two became close, and she was chosen to be the godmother of his daughter Amanda Rowan. She appeared on Super Jam (1989), the live recording of the German TV series Villa Fantastica, with Brian Auger on pianoPete York on drumsDick Morrissey on tenor saxophone, Roy Williams on trombone, Harvey Weston on bass and Zoot Money, also on vocals.[citation needed]

Muldaur continued to perform, tour, and record after her success in the mid-1970s, including a turn at the Teatro ZinZanni in 2001.[5][6]

Her 2005 release Sweet Lovin’ Ol’ Soulwas nominated for both a Blues Music Award (formerly the W.C. Handy Award) and a Grammy Award in the Traditional Blues category. In 2013, she was nominated for a Blues Music Award in the Koko Taylor Award (Traditional Blues Female) category.

wikipedia.org

 
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Posted by on November 15, 2017 in blues

 

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 R.I.P. “Fats Domino – I’m Walking to New Orleans” 

Image credit: Becky Fos, OffBeat Magazine


Antoine Dominique “Fats” Domino Jr.(February 26, 1928 – October 24, 2017)

was a most notable American pianist and singer-songwriter. Domino released five gold (million-copy-selling) records before 1955.[1] He also had 35 Top 40 American hits and has a music style based on traditional rhythm and blues ensembles of bass, piano, electric guitar, drums, and saxophone

en.m.Wikipedia.org

Antoine Dominique “Fats” Domino Jr. died. at the age of 89 from natural causes.

 
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Posted by on October 27, 2017 in black music artists, blues

 

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“Dedication – Noora Noor” 



Noora Noor aka Noora (born 8 July 1979) is a Somalian-Norwegian neo soul singer.[1]

Noor started early on her musical journey, performing locally from the age of 8. She got a recording contract with Warner Music at only 15. She then began working with Stargate (production team) to make her first album. The success of the album launched Stargate’s international career as R&B/Soul producers.

Noor’s debut album, Curious, was released in 1999 and became one of the first notable Scandinavian R&B albums. The single “Need You” was also played constantly on “The Lick” on MTVCurious became a success also in Japan with more than 40,000 sales. It took five years until the release of her second album, All I Am, in 2004, as Noor became seriously ill. The album included more self-penned songs, written in collaboration with US and UK songwriters. She is also featured on Madcon‘s 2007 album So Dark the Con of Man and some Tommy Tee releases. In addition, Noor played Maria Magdalen in a big outdoor version of Jesus Christ Superstar.

Her most recent album, Soul Deep, was released in Norway in March 2009 to rave reviews (6 on the dice in Norway’s major daily VG). Recorded in San Jose, California, with local blues and soul musicians, it also features members of Little Charlie & The Nightcats. The producer was Kid Andersen, the Norwegian band’s guitar virtuoso. The album was released outside Norway during 2010, with the first single, in Benelux, made available in April/May 2010.

In March 2011, Noor participated in the Norwegian national selection for the Eurovision Song Contest 2011, the Melodi Grand Prix, with the song “Gone with the wind”

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Posted by on October 19, 2017 in blues, jazz

 

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