HARMAN BAND WITH SPECIAL GUESTS
JUNIOR WATSON & "SAX" GORDON BEADLE &
TONI LYNN WASHINGTON (USA)
2. Juli, 23:30
Harman - harp, vocals
Junior Watson - guitar
"Sax" Gordon Beadle - tenorsax
Toni Lynn Washington - vocals
Marty Ballou - bass
Stephen Hodges - drums
Bruce Bears - hammond b3 organ & piano
entlang zu den Heimatseiten von..
"Sax" Gordon Beadle..
Toni Lynn Washington..
Übersetzung folgt in Kürze!
James Harman lives in southern California, but his music clearly reflects
his southeastern roots. Born in 1946 in Anniston, Ala., to musical parents,
Harman began piano lessons at age four and sang in the church choir. His
father's Hohner harmonicas were in the piano bench, and he would play
them after his piano lessons. He experimented with other instruments as
well, including guitar, organ, bass and drums, performing solo and with
family members at dances and country suppers. He found the blues early
in life, both on black radio and on the street corner: "Radio"
Johnson, a local blind street singer who played slide guitar with a knife,
was an early influence and collaborator.
Harman's professional career began in 1962 after moving to Panama City,
Fla. Soon after the move, he discovered like-minded friends, who invited
him to black nightclubs to see such performers as Little Junior Parker,
Jimmy Reed, Little Milton Campbell, Slim Harpo, Bobby Bland, O.V. Wright,
B.B. King, Otis Redding, Solomon Burke, Joe Tex and James Carr. He began
hanging out on a regular basis and was eventually asked to sit in by local
house bands, becoming known as "that boy who sings like a man."
Encouraged by this acceptance, Harman launched the first of his many rhythm
'n' blues ensembles, using such names as King James and the Royals; Snakedoctor;
Disciples of Soul; Disciples of Blues; The Disciples; Voo Doo Daddy; Soul
Senders; Pieces of Eight; Kingsnakes; and finally, The Icehouse Blues
The buzz surrounding James' live shows attracted talent scouts from several
southern record companies. Earl Caldwell, manager of the Swinging Medallions,
signed Harman and took him to the Ken-Tel recording studio on Peachtree
Street in Atlanta, GA. In 1964, 18-year-old James cut the first of nine
regional 45 RPM singles that would appear on five different labels and
put him on the road. James toured the eastern half of the country for
the rest of the decade, playing radio station dances, fraternity parties,
nightclubs, college concerts, after-hours joints, striptease parlors,
bottle clubs (in which Harman would play all night, literally, performing
six to eight sets of music) and honky tonks. When he wasn't headlining
his own show, he was opening for and/or backing the top R&B artists
of the day.
The James Harman Band has been a touchstone for notable players, including
Phil Alvin and Bill Bateman, who left in 1978 to form the Blasters; "Piano
Gene" Taylor, who left in 1981, also to join the Blasters before
moving on to the Fabulous Thunderbirds; and David "Kid" Ramos.
Ramos played 10 years with Harman, retiring in 1988, return to the blues
as guitarist for the Fabulous Thunderbirds, for a time. Alumni also include
the late Michael "Hollywood Fats" Mann, who played five years
with James after leaving his own band in 1980; multi-instrumentalist session
man and tunesmith Jeff Turmes played saxophones with James for years,
switching to the bass for six more years beginning in 1988. Alumni drummers
include Richard Innes, Stephen T. Hodges and Steve Mugalian and Paul Fasulo
to name a few. Along the way, Harman's own production company: Icepick
Productions, has generated more than a dozen releases to add to the fifteen
he had released before using his own name. These twenty nine releases
are the fruit of his forty plus year career, at this point. While Harman
continues to perform and record, he also is working on several projects
as a producer, a venture that involves longtime production partner Jerry
Hall. The pair has worked together since 1971. Hall has engineered every
track of every Harman release since that time, and together the pair has
produced many other artists.
Harman has performed live shows in 18 countries, as many as 250 dates
per year, including appearances at such North American festivals as the
Long Beach Blues Festival, the New York State Blues Festival, the Kansas
City Blues and Jazz Heritage Festival, the King Biscuit Festival in Helena,
AR, the Bumbershoot Festival in Seattle, the Bayfront Blues Festival in
Duluth, MN, the Waterfront Festival in Portland, OR, the Edmonton (Canada)
Blues Festival, and other festivals from Montreal to Mexico City. Abroad,
Harman has appeared at the Peer and Spring Blues Festivals in Belgium,
the Notodden and Hell Festivals in Norway, the Great Britain R&B Festival
in Colne, England, the Milano and Pistoia Festivals in Italy and the Bayron
Bay Festival in Australia, to name a few.
In more than four decades of touring and recording, Harman has staked
his claim as an original, legitimate blues artist, musician and producer.
In his recordings and live performances, James creates music that stands
out as unique and personal yet clearly reflects his passion for the roots
of the blues. Harman learned a key secret years ago: You have to develop
your own approach and identity in order to have lasting success. As vocalist,
musician and songwriter, James Harman chronicles life with energy, wit
and humor. He has a novelist's eye for detail and irony, and the result
is well-conceived music that stands the test of time. Harman's roots are
apparent in his recordings and live performances. He is a disciple of
the classic qualities of the Southern blues tradition. Still, like his
mentors, Harman is telling his own stories. He knows the difference between
innovation and imitation, and his own character as a blues artist is fully
reflected in his work. In all cases, he remains true to his credo: Strictly
Deutscher Text folgt in Kürze!
With nearly thirty years of experience, Junior Watson has reached cult
status. Junior has done what all great artists have done: melting diverse
styles to create a style all his own. With influences as diverse as Tiny
Grimes, Oscar Moore, Bill Jennings, Rene Hall, Robert Jr. Lockwood, Jimmy
Rogers, Eddie Taylor, Guitar Slim, Earl Hooker and others he has truly
created one of the most unique and original guitar voices to come along
in years. Besides his mastery of blues and swing he often adds his own
cartoon-like twist to everything he plays. You'll never know what he will
do and when asked he doesn't know himself. His energy and playing gives
you a feeling of reckless abandonment. As he was once quoted "like
a train off the tracks".
His artist resume is as large as it is impressive. A founding member of
The Mighty Flyers he stayed with the band for ten years. He then left
to join Canned Heat for ten years. He then toured for a while with LA-based
harmonica player/vocalist Lynwood Slim. All along the way he has backed
up and recorded with the who's-who of the blues. His list of musical endeavors
include backing up and recording with Big Mama Thorton, George Smith,
Jimmy Rogers, Shakey Jake, Luther Tucker, Charlie Musselwhite, Kim Wilson,
William Clark and there's more. Suffice to say the list is very extensive.
In the past Junior has always been the sideman or featured artist. For
the first time in his career he has a band that is taking the back seat
and having Junior do all the driving. For the first time you can hear
this amazing, original artist wail all night long. This fact alone is
exciting and when unleashed, Junior will prove to the rest of the blues
community what his cult status is all about.
Deutscher Text folgt in Kürze!
"Sax" Gordon Beadle was born in Detroit in 1965. He gained his
first musical experiences in Northern California with combos and big bands
in the Sacramento area, eventually performing and recording with Bay Area
Blues giant Johnny Heartsman before leaving for the east coast. Early
on Gordon established a reputation for his hard-blowing, gutsy sax style
and his ability to excite an audience.
Since coming to Boston, Gordon has become one of the most sought-after
saxophonists in his field, both in recording studios and in clubs and
concert halls worldwide. He's been featured as a soloist on both the tours
and recordings of such highly- respected artists as Duke Robillard, Jay
McShann, Matt "Guitar" Murphy, Jimmy Witherspoon, Luther "Guitar
Jr." Johnson, and Roomful of Blues. His flamboyant solos have appeared
on award-winning recordings by such legendary R&B pioneers as Jimmy
McGriff, Champion Jack Dupree, Rosco Gordon, Pinetop Perkins, Jimmy "T99"
Nelson, Billy Boy Arnold and Charles Brown, and Gordon has been called
upon to play live with many of the great artists of Blues, Jazz, and Soul,
including Solomon Burke, Little Milton, Johnny Copeland, Clarence "Gatemouth"
Brown, Herb Ellis, Ben E. King, Keely Smith, Howard Tate, Martha Reeves,
Junior Wells, Mighty Sam McClain, Charlie Musselwhite, Reuben Wilson &
the Masters of Groove (featuring Grant Green Jr. & Bernard Purdie),
Johnny Johnson, James Cotton, Sam Moore (of Sam & Dave), Hubert Sumlin,
Big Jay McNeely, Sherman Robertson, Junior Watson, and John Hammond.
Deutscher Text folgt in Kürze!
Lynn Washington is one of the finest singers in the blues. Her 1995 Tone-Cool
debut, Blues at Midnight, garnered widespread rave reviews and earned
her nominations at the 1996 and 1997 WC Handy Awards - the industry's
recognition of Toni Lynn's rightful place among the elite of female blues
and R&B singers.
This may seem like an overnight success for an artist releasing her debut
cd, but Toni Lynn Washington is no newcomer to the national scene. Her
career spans four decades and provides a direct link to the history of
R&B, including tours and performances with some of the music's giants.
Like all the great singers, Toni Lynn makes each song her on, whether
it's a low-down blues, a jazz or R&B standard, or a new composition
from her or one of her band members. Toni Lynn's music always radiates
with powerful, emotional and sensual vocals that transport you to a special,
soulful place. As Boston Magazine so aptly put it, "she will make
you melt." Toni Lynn was born in Southern Pines, North Carolina where
she first started singing in the local church gospel choir. Her family
soon moved to Boston where her mother began bringing the underage Toni
Lynn to sing at night clubs like the Hi Hat, Louis' Lounge, the Big M
and the Palace during the 1950s. At 18, she married and moved to New Orleans
where she began working with pianist and arranger Edward Frank, known
for his work with Smiley Lewis and Bobby Bland. Toni Lynn and Frank were
signed to the Kon-Ti label, a subsidiary of Atlantic, and recorded "Dear
Diary," which became a top-50 hit single.
Off of her commercial success, Toni Lynn toured the chitlin circuit, often
sharing the stage with the founders and legends of R&B including Jackie
Wilson and Sam and Dave. After relocating to Florida, she continued to
play the circuit and embarked on a USO tour of army and navy bases. In
the early 1970's, Toni Lynn moved to Los Angeles to join a band called
Sound of the 70's, whose success led to a performance on the Steve Allen
Show and a USO tour of Vietnam, Japan and the Far East. After their break-up
in the late 1970's, Toni Lynn moved back east before forming Sister's
Love, with three former Raelettes.
In the early 1980's, Toni Lynn moved to Boston, where she performed with
several local R&B bands before doing a stint with keyboardist Bruce
Bears in a band called Boston Baked Blues. After witnessing Toni Lynn's
remarkable talents, Bruce quickly became her musical director and together
they formed the Toni Lynn Washington Band in 1992. With some of the city's
finest musicians - featuring Bruce on keyboards, Tim Gearan on guitar,
Paul Ahlstrand and Rob Lee on horns, Craig Macintyre on drums, and Lou
Wallach on bass - the Toni Lynn Washington Band tightened their sound
and material in the local blues and jazz clubs and quickly solidified
their reputation as one of the best blues and R&B bands around. With
the release of Blues at Midnight in 1995, the band burst onto the national
blues and R&B scene and Toni Lynn gracefully stepped into the spotlight
as one of the true great vocal treasures in the blues.
Toni Lynn Washington's turn has come. After Blues at Midnight was nominated
as a finalist for Soul Album of the Year at the 1996 NAIRD Awards, Toni
Lynn was nominated as Soul/Blues Album of the Year at the 1996 WC Handy
Awards and once again as Contemporary Blues-Female Artist of the Year
at the 1997 WC Handy Awards. It's My Turn Now is her triumphant return,
showcasing Toni Lynn's magnificent vocals over tight and soulful arrangements
of original songs, blues, and R&B. Toni Lynn has paid her dues and
come out smiling at the top of her form. And it's clearly her turn now.
[ NACH OBEN ]