Allman Brothers was the right blues band at the right time with the right repetoire and attitude to rejuvinate the blues. Dickie Betts, Duane Allman and Greg Alllman were sweet musicians that didn't try to copy other blues artists. The Allmans Brothers repetoire mixed classic blues songs like "One Way Out", "Hoochie Coochie Man" and "Stormy Monday" with long, heavenly jams like "In Memory of Of Elizabeth Reed" and "Mountain Jam" for magical blues concerts.
Anyone that saw an Allman Brothers concert - then or now - will say it's one of the best concerts they ever saw in their life. While Duane Allman is gone, Greg Allman, Dickie Betts and Warren Haynes have kept the spirit of the Allmans Brothers alive and the music vital... If you ever have a chance to see "The Allman Brothers" live - just do it!!
Bonnie Raitt - singer -songwriter feels like she's been around forever, playing slide blues guitar licks. belting out blues drenched love songs like "Nick Of Time", "Thing Called Love", "Love You Like A Man", "Love Letter" and more. Talk about women blues musicians, Bonnie Raitt performed with Eric Clapton and earned Grammy Awards for her blues compositions. The only thing better than hearing a Bonnie Raitt on CD or video is seeing Bonnie Raitt in person... it's a blues concert you'll always treasure.Read Bonnie Raitt blues profile
Rory Gallagher Taste - was an Irish blues and rock guitarist, singer and songwriter. Born in Ballyshannon, Co. Donegal, on 2 March 1948, he grew up in the city of Cork. Rory was based in London during most of his 30-year career; he toured extensively, sold 30 million records, and had a worldwide following of loyal fans.
In 1963 Rory Bought (second-hand) the famous '61 sunburst Fender Stratocaster, for 100 pounds, in Cork this was apparently the first Stratocaster in Ireland, The 'battered Strat' was to be Rory's most notable trademark over the next 31 years. At age 16 Rory joined the Fontana show band, Rory toured with the show band until a point where only three members of the band showed up for a specific gig, Rory persuaded the promoter that they could play anyway, the three piece line up then became Taste.
Taste toured until 1970 including a US and Canada tour supporting blind faith, and a headline spot at the Isle of White festival in 1970. At the end of 1970 Rory went solo, forming another 3-piece band the “Rory Gallagher Band” the line up changed over the years:
Carlos Santana was never accused of being a blues guitar player so why is he on "Blues for Peace"? Mainly out of respect for Santana's love for the blues and how many people got turned on to the blues. Also, Santana performed in major blues festivals as far back as Woodstock and more recently at Eric Clapton's Crossroads Guitar Festival. Guilty by asociation, Santana's tone, feel, intonation and rhythm, are the blues... Santana, we love you and your Latin licks.. now if only you'd make a "Black Magic Woman" inspired blues album... hmmmm???
Chuck Berry invented rock n' roll guitar as we know it to this day... the wild, screaming guitar solo's like "Johnny B. Goode" and "Roll Over Beethoven" were copied and inspired generations of rock bands. Just put on a Chuck Berry guitar solo, if that don't turn you on... you got a hole in your rock in roll soul... Some of Chuck Berry's greatest hits are "Johnny B. Goode", "Around And Around", "Maybelline", "Memphis, Tennessee" and "Roll Over Beethoven" and "Let It Rock".
Johnny Winter burst on the blues scene like the Lone Ranger, he could play blues that had just the right touch of rock in it to appeal to both blues fans rock fans.. not an easy thing to do.. but that's always been Johnny Winter's appeal and if that don't get you... his texas blues will knock you cold. Can you imagine playing with Muddy Waters? Much less recording an album with him? That's exactly what Johnny Winter did... recorded the album "Breakin' It Up & Breakin' It Down" with Muddy Waters.
One thing about Johnny Winter, he knows talent when he hears it! Johnny played in a a trio with Tommy Shannon on bass, before SRV snapped him up...Talk about timing.. Johnny Winter was on the first cover the Guitar World.. Some of his best albums are "Second Winter by Winter","Live Johnny Winter", "Still Alive and Well", " I'm a Bluesman" and "Captured Live!".
Sometime, when you're searchin' for inspiraiton for new songs, band arrangements and blues album concepts.. check out Johnny Winter's catalogue.. there's plenty of killer licks and funky ideas for your blues band.
John Mayer and Eric Clapton - Crossroads (ABC News)
John Mayer Video John Mayer burst on the scene as an exciting singer-songwriter and embraced the blues when he formed the John Mayer Trio. Besides blues guitar, John Mayer is into stand-up comedy and writing. After he got into the blues, he played in at blues bars and studied at Berklee College of Music in Boston. His hit albums include Room for Squares, John Mayer Live, Any Given Thrusday and Heavier Things. Jonn Mayer also has his own signature Martin guitar and signature Stratocaster electric guitar. For blues guitar players, John Mayer's music shows ways to play the blues and reach a mass audience.
B.B. King appeared on PBS TV in 1968, holding his trademark Gibson ES 355 - Lucille, hair slicked back, sweating profusely, singing and playin the blues. As a kid I remember people talking about B.B. King. They said, "Well you know, B.B. King, he's not really a good guitar player, all he can play is the blues." Twenty, thirty years later, I'm still trying to learn to play blues guitar like B.B. King!
B.B. King was the featured guest artist and spoke to the interviewer with a guarded tone to his voice and in humble way. The contrast between B.B. King's soft spoken words and wailin' guitar made a deep impression on me. I remember trying to catch the beat and couldn't because most of B.B. King's guitar licks started off the beat. Off the beat? Now there's a concept I'd never encountered as a fifteen year old guitar player.
It was also the first time I heard anyone bend guitar strings... and what B.B. King called "those funny little sounds that please me" - sounded out of tune to me! Yet something caught my ear and I was determined to try and figure out the secret to play like B.B. King. And twenty, ok, thirty years later, I'm still trying to figure out how to play the blues guitar like B.B. King!
B.B. King projects tremendous presence on the stage singing, playing guitar or just standing around. His style, developed in the Big Band Era, is similar to T-Bone Walker, playing off the riffs of the horn section versus blowing over the top. Many of B.B. King's licks come out of nowhere at the end of the horn parts. Other times you can hear B.B. 'comping' simple licks to the groove of the horn section.
Talk about the pentatonic scale, the blues scale ... forget it. Talk about the BB King Scale ... B.B. King just plays what he hears and often plays major thirds & major sevenths as well as wierd bends (flat 2nd up to minor third) that can't be taught.
Another unique aspect to B.B. King 's guitar style is his vibrato and the way he mixes phrases that start on the beat with licks that start off the beat. There are few guitar players that do this today ... just listen to a few BB King solos, count out the rhythm and see for yourself.
Sound wise, B.B. King's guitar is usually in the mix, not blowing out the band. Many of B.B. King's best records like crackle a soulful mix of B.B.'s vocals, blues guitar licks and audience reaction. I don't know about you, but I'v got a strong urge to hear a BB King CD!
By Johnny Mayer.
B.B. King Guitar TAB
Here are some cool books with B.B. King guitar tab. It's amazing when you actually get a few B.B. Kings licks under your fingers. It's best to learn to play by ear and these B.B. King guitar tablature books will help you play the blues from the heart - just like BB King.
As legendary guitarist Robert Johnson put it, Chicago has been a “sweet home” for the blues. The most recognizable cultural signature this city has produced, Chicago blues has diverse and contradictory roots: African American migration from the South and the growth of the modern music industry; regional folk genius and ethnic entrepreneurial savvy. This rich sense of origin and history makes blues music such a celebrated civic resource, one that still shapes cultural and social practice throughout the Windy City.
Blues Clubs in Chicago (Map)
The earliest geographic origins of the blues are uncertain, given the multiple versions appearing across the African American South near the turn of the century. In Chicago, the emergence of blues culture in the 1920s coincided with increased musical performance and recording nationwide and paralleled the dramatic growth of black urban enclaves during the Great Migration. Alberta Hunter, Cow Cow (Charles) Davenport, and Blind Lemon Jefferson were among the first blues artists to record locally, under the supervision of J. Mayo “Ink” Williams of Paramount Records. Williams gathered other musicians of note, including Tampa Red (Hudson Whittaker), Big Bill (William) Broonzy, and Georgia Tom, who later modernized gospel music as composer Thomas Dorsey. Although Hunter, Broonzy, and others performed across the South Side, and despite an abundant audience of migrants, there was not yet the extensive network of blues clubs that emerged in later years.
Blues Musicians on Maxwell St., c.1950
Like the rest of the economy, music production suffered during the Great Depression. Between 1926 and 1932, annual sales of phonograph records in the United States plummeted from $126 to $6 million; sales for black performers decreased from $5 million to only $60,000. The decline slowed the migration of blues artists, whose motivation for coming to Chicago, like other black southerners, included economic opportunity. Still, the city continued to serve as incubator of blues music, as musicians awaited the resurgence of the record industry. Tampa Red and Bill Broonzy were joined by such talents as Memphis Minnie (Douglas), Lil Green, Memphis Slim (Peter Chatman), and Sonny Boy ( John Lee) Williamson. With the wartime emergence of local labels such as Bluebird, Chicago became the national center for blues recording—hits like Lil Green's “Romance in the Dark” (1940), Minnie's “Me and My Chauffeur Blues” (1941), and Williamson's “Elevator Woman” (1945) exemplified post-Depression popular music for blacks, North and South. As the community of artists and entrepreneurs grew, blues culture revised the geography of black Chicago. Legendary clubs such as Silvio's, Gatewood's Tavern, the Flame Club, and the 708 opened along Indiana Avenue on the South Side and Lake Street on the West Side, serving as community centers for migrants arriving in ever greater numbers during the 1940s. Blues music also moved beyond studio and stage. The outdoor market on Maxwell Street became a regular weekend venue, and newly arrived musicians found work playing “rent parties” across the South and West Sides.
During the 1950s, Chicago blues flourished, developing the signatures—use of rhythm sections and amplification; reliance on guitar and harmonica leads; and routine reference to Mississippi Delta styles of playing and singing—that identify it today. Consolidation of blues recording continued, with new labels Chess, Vee-Jay, and Cobra all signing and producing large numbers of artists. Of these, the most prominent was Chess, whose first generation of artists—Muddy Waters (McKinley Morganfield), Little Walter ( Jacobs), Willie Dixon, Howlin' Wolf (Chester Burnett)—were exemplars of Chicago blues style. The distinctive sound of these artists restructured popular music, providing fundamental elements for subsequent genres like soul and rock and roll. Indeed, the work of Waters on songs like “Rollin' Stone” (1950) and “Hootchie Cootchie Man” (1954) had international influence, subsequently inspiring the Beatles, the Rolling Stones, and other British bands. Dixon was also a figure of special note—in addition to playing bass and writing for artists ranging from Waters to Chuck Berry and Bo Diddley, he supervised most of the studio sessions at Chess beginning in the mid-1950s.
A key catalyst to the blues' postwar popularization were “black-appeal” disc jockeys, such as Al Benson and Big Bill Hill, who ensured that records released by Chess, Vee-Jay, and other labels received public exposure. By the late 1950s and early 1960s a new generation of West Side artists, including Otis Rush, Magic Sam (Maghett), and Buddy (George) Guy, carried the work of Waters, Dixon, and other Chess artists even further. Chicago blues soon attracted substantially broader audiences. In 1959, Dixon and Memphis Slim toured England and the Middle East: they would return to Europe in 1962 with a full roster of artists to perform in the first of many annual American Folk Blues Festivals.
The history of Chicago blues since the 1960s has been a contradictory one, combining periods of recession and renewal. By the end of the 1960s, blues had infrastructural as well as aesthetic presence. WVON, the all-day radio station opened by Chess owners Leonard and Phil Chess in 1963, maintained a healthy blues playlist, augmenting programming from other local stations. Blues nightclubs continued to shape black neighborhoods on the South and West Sides; Roosevelt Road, Madison Street, and 43rd Street became blues thoroughfares. With the failure of Cobra Records in 1959 and Vee-Jay in 1966, Chess stood as the only remaining major label and, under the supervision of Willie Dixon, consolidated the remaining talent. Old rivals such as Buddy Guy and Otis Rush were signed, along with newcomers Etta James, Little Milton (Campbell), and Koko Taylor. Yet blues music found itself at a disadvantage commercially next to soul, gospel, and other new genres of black popular music. Chess went out of business in 1975, by which time most older clubs were closing down.
While Chicago blues did not recapture its centrality to the civic life of the African American community, a renaissance has been building since the late 1960s, when blues found a new audience drawn from followers of rock music searching out roots artists. Such local labels as Delmark, which recorded Junior Wells (Amos Blakemore) and Magic Sam (Sam Maghett), and Alligator, which recorded Koko Taylor and Lonnie Brooks (Lee Baker, Jr.), built a new national audience for Chicago blues. Old-line clubs (notably the Checkerboard) on the South and West Sides have been joined by new venues on the South, West, and North Sides (notably Kingston Mines) serving the tourist industry and predominantly white fans of blues. In 1984 Chicago inaugurated an annual blues festival. Continued participation in Chicago blues culture underscores that, as in earlier times, the music serves as “living history,” shaping both memories of and hopes for urban social life.
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Instrument of apparatuur defect? We hebben een uitgebreide reparatie afdeling!
Onze pro install afdeling is gespecialiseerd in het ontwerpen en implementeren van geluidstechnische, audiovisuele, studiotechnische en presentatieoplossingen op een professioneel niveau.
Sinds 1985 zijn we actief op het gebied van muziekinstrumenten, pro audio en licht apparatuur.
Klundert Muziek is een toonaangevend bedrijf voor de levering en turn-key installatie van professionele audio-, licht- en muziek installaties.
Onze klanten:
Tot de brede klantenkring behoren o.a. recording / post production studio's, muziekscholen / onderwijsinstellingen, theaters, horeca, sportcomplexen, detailhandel, religieuze instellingen, jongerenwerkcentra, recreatieparken, zorginstellingen etc.
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Klundert Muziek is volledig merk- en productonafhankelijk! Hierdoor zijn we in staat het beste van alle fabrikanten te combineren tot systemen die volledig aangepast zijn op een specifieke toepassingen en/of situatie. De technische mogelijkheden zijn belangrijk, maar ook de prijs/kwaliteit verhouding zodat we niet alleen high-end zijn, maar ook voor elk budget de juiste oplossing hebben tegen concurrerende condities.
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Ieder project beschouwen wij als uniek en stemmen daar het geleverde systeem volledig op af.
Het luisteren naar de gebruiker en de jarenlange ervaring heeft Klundert Muziek vertaalt naar systeemconcepten die afgesteld zijn op de specifieke behoefte binnen uw situatie.
Ook onze jarenlange ervaring uit o.a. retail verkoop aan particulieren en onze kennis uit onze verhuurafdeling maakt ons een veelzijdig bedrijf met de juiste visie voor uw installatie project.
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Een installatie project is veelomvattend. Klundert Muziek draagt (indien gewenst) gedurende het gehele project de totale verantwoordelijkheid. Dit betekent dat wij zorgen voor o.a. organisatie, overleg, planning, systeemwerking, installatie, in bedrijfstellen, oplevering, instructie en nazorg.
Klundert Muziek: pro installatie specialisten.
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Alle kinderen willen lol maken daarom zijn er meer dan 65 CliniClowns actief in Nederland, die zieke en/of gehandicapte kinderen afleiding en plezier bieden.
Zij benadrukken de gezonde kant van het kind, juist wat het wel kan. Bij het ene kind wordt groot uitgepakt, bij een ander is het spel klein en subtiel.
Soms is het schudden van het lachen, soms zijn het pretlichtjes in de ogen. CliniClowns spelen in op van wat het kind wil en nodig heeft.
De CliniClowns laten zoveel mogelijk van deze kinderen spelen en plezier hebben.
Op dit moment bereiken wij slechts 30% van de kinderen. Daarom willen we meer CliniClowns opleiden.
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vind de perfecte match tussen uw profiel en opdrachten, vaak al binnen een paar uur. Voor de één precies de professional die nodig is, voor de ander de juiste klus op het juiste moment.
