Yes - Yours Is No Disgrace

                               

                                                Stephen James Howe (born 8 April 1947)

 

"Yours Is No Disgrace" is a song by English progressive rock band Yes, which first appeared as the opening song of their 1971 album The Yes Album.It was written by all five members of the band: Jon Anderson, Chris Squire, Steve Howe, Tony Kaye and Bill Bruford.The song was also released as a single in some continental European countries such as Italy and the Netherlands.
                       

                                            John Roy Anderson (born 25 October 1944)

                                            Christopher Russell Edward (Chris) Squire (Kingsbury, 4 maart 1948- –                                          Phoenix (Arizona), 27 juni 2015)

                                         William Scott (Bill) Bruford (Sevenoaks, 17 mei 1949)           

                                      Tony Kay (Anthony John Selvidge -born 11 January 1945)

The Yes Album is the third studio album by English progressive rock band Yes, released on 19 February 1971 by Atlantic Records.^[3] It was the band's first album to feature guitarist Steve Howe, who replaced Peter Banks in 1970, as well as their last to feature keyboardist Tony Kaye until 1983's 90125.

The album was the first by the band not to feature any cover versions of songs. The band spent mid-1970 writing and rehearsing new material at a farmhouse at Romansleigh, Devon, and the new songs were recorded at Advision Studios in London in the autumn. While the album retained close harmony singing, Kaye's Hammond organ, and Chris Squire's melodic bass, as heard on earlier releases, the new material also covered further styles including jazz piano, funk, and acoustic music. All of the band members contributed ideas, and tracks were extended in length to allow music to develop. Howe contributed a variety of guitar styles, including a Portuguese guitar, and recorded the solo acoustic guitar piece "Clap", live at the Lyceum Theatre, London.(Wikipedia)

                                                       

Chicago Transit Authority - Concertgebouw Amsterdam (12dec.1969)

Chicago is een Amerikaanse rock band ,opgericht in 1967 in Chicago, Illinois. Ze beschrijven zelf hun muziek al "rock and roll band with horns" in het begin politiek geladen, soms experimenteel, een combinatie van rock en jazz.Later ging de groep over op een wat meer "softe" sound en ballads..Voor mij persoonlijk minder interessant maar desondanks scoorde de groep meerdere hits gedurende de jaren 1970 en 1980. Chicago is een van de langstlopende en meest succesvolle rockgroepen uit de geschiedenis.

 
 Does Anybody Really Know What Time it Is?

Op 12 December trad de band op in het mooie Concertgebouw in Amsterdam ,voor een ,op het oog, zeer statisch publiek.
 De originele bezetting van de band was ,Robert Lamm- keyboard,Terry Kath -guitar ,Peter Cetera -bassist ,zij deden ook de vocals, James Pankow, Lee Loughnane en Walter Parazaider vormden de blazerssectie en Danny Seraphine op de drums.

  25 or 6 to 4

Het eerste album (April 1969),  The Chicago Transit Authority, was gelijk een dubbel album,wat toch wel bijzonder was voor een eersteling.. Er werden er meer dan een miljoen van verkocht .Het album bevat klassiekers als "Does Anybody Really Know What Time It Is?", "Beginnings", "Questions 67 and 68", en "I'm a Man" – allemaal ook uitgebracht als singles.
Toen de echte Chicago Transit Authority( bus en trein  maatschappij in  Chicago.) dreigde met juridische stappen over de naam  ,werd snel  na de release van het album, de bandnaam ingekort tot Chicago

                 Its better end soon (Chicago ll )

  Terry Kath's ontwikkeling als gitarist was zo sterk dat zelfs Jimi Hendrix een bewonderaar was van Terry,s manier van spelen .Zo vertelde saxophonist Walter Parazaider,  “This guy came up very quietly and tapped me on the shoulder. He says, ‘Hi, I’m Jimi Hendrix. I’ve been watching you guys and I think your guitarist is better than me.”

                                            I,m a Man

 "I'm a Man" is een nummer van The Spencer Davis Group singer-songwriter Steve Winwood en record producer Jimmy Miller.

 Chicago Transit Authority nam het nummer "I'm a Man" op voor hun debut album, The Chicago Transit Authority. Hoewel het de  B-side was van"Questions 67 and 68" kwam het nummer toch op de 49 ste plaats van  U.S. Billboard Hot 100 in 1971.

  Terry Alan Kath (31 januari 1946 - 23 januari 1978), geboren in Chicago, Illinois, was een Amerikaanse muzikant en songwriter. Hij was de originele gitarist en mede-oprichter van de rockband Chicago. Hij stierf in het begin van 1978, acht dagen voor zijn 32ste verjaardag, het spelen met een pistool werd hem noodlottig.

Sonny Boy Williamson II (Glendora, Mississippi, 5 december 1912( ? ) – Helena, Arkansas, 25 mei 1965)

Alex or Aleck Miller ( December 5, 1912– May 24, 1965), known later in his career as Sonny Boy Williamson, was an American blues harmonica player, singer and songwriter. He was an early and influential blues harp stylist who recorded successfully in the 1950s and 1960s. Miller used various names, including Rice Miller and Little Boy Blue, before calling himself Sonny Boy Williamson, which was also the name of a popular Chicago blues singer and harmonica player. To distinguish the two, Miller has been referred to as Sonny Boy Williamson II.
  He first recorded with Elmore James on "Dust My Broom". Some of his popular songs include "Don't Start Me Talkin'", "Help Me", "Checkin' Up on My Baby", and "Bring It On Home". He toured Europe with the American Folk Blues Festival and recorded with English rock musicians, including the Yardbirds, the Animals, and Jimmy Page. "Help Me" became a blues standard,^[5] and many blues and rock artists have recorded his songs(Wikipedia)

Williamson's first recording session took place in 1951 for Lillian McMurry of Trumpet Records, based in Jackson, Mississippi. It was three years since the death of John Lee Williamson, which for the first time allowed some legitimacy to Miller's carefully worded claim to being "the one and only Sonny Boy Williamson". When Trumpet went bankrupt in 1955, Williamson's recording contract was yielded to its creditors, who sold it to Chess Records in Chicago. He had begun developing a following in Chicago beginning in 1953, when he appeared there as a member of Elmore James's band. During his Chess years he enjoyed his greatest success and acclaim, recording about 70 songs for the Chess subsidiary Checker Records from 1955 to 1964. His first LP record was a compilation of previously released singles. Titled Down and Out Blues, Checker released the collection in 1959. A single, "Boppin' with Sonny" backed with "No Nights by Myself", was released by Ace Records in 1955.

In the early 1960s he toured Europe several times during the height of the British blues craze, backed on a number of occasions by the Authentics (see American Folk Blues Festival), recording with the Yardbirds (for the album Sonny Boy Williamson and the Yardbirds) and the Animals, and appearing on several television broadcasts throughout Europe. Around this time he was quoted as saying of the backing bands who accompanied him, "those British boys want to play the blues real bad, and they do". Led Zeppelin biographer Stephen Davis writes in Hammer of the Gods, while in England Williamson set his hotel room on fire while trying to cook a rabbit in a coffee percolator. The book also maintains that future Led Zeppelin vocalist Robert Plant stole one of the bluesman's harmonicas at one of these shows. Robert Palmer wrote in his blues history "Deep Blues", that during this tour Williamson allegedly stabbed a man during a street fight and left the country abruptly.^{[citation needed]}
Sonny Boy took a liking to the European fans, and while there had a custom-made, two-tone suit tailored personally for him, along with a bowler hat, matching umbrella, and an attaché case for his harmonicas. He appears credited as "Big Skol" on Roland Kirk's live album Kirk in Copenhagen (1963).^[11] One of his final recordings from England, in 1964, featured him singing "I'm Trying to Make London My Home", with Hubert Sumlin providing the guitar.

 Upon his return to the U.S., he resumed playing the King Biscuit Time show on KFFA, and performed in the Helena, Arkansas area. As fellow musicians Houston Stackhouse and Peck Curtis waited at the KFFA studios for Williamson on May 25, 1965, the 12:15 broadcast time was approaching and Williamson was nowhere in sight. Peck left the radio station to locate Williamson, and discovered his body in bed at the rooming house where he had been staying, dead of an apparent heart attack suffered in his sleep the night before. Williamson is buried on New Africa Road, just outside Tutwiler, Mississippi at the site of the former Whitman Chapel cemetery. Trumpet Records owner McMurry provided the headstone with an incorrect date of death.

Carl Perkins - Blue Suede Shoes

 Carl Lee Perkins (April 9, 1932 - January 19, 1998) was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954.Amongst his best-known songs are "Blue Suede Shoes", "Matchbox" and "Everybody's Trying to Be My Baby"

  "Blue Suede Shoes" is a rock-and-roll standard written and first recorded by Carl Perkins in 1955. It is considered one of the first rockabilly records, incorporating elements of blues, country and pop music of the time. Perkins' original version of the song appeared on the Cashbox Best Selling Singles list for 16 weeks and spent two weeks at the number two position.^[2]

Elvis Presley recorded "Blue Suede Shoes" in 1956 and it appears as the opening track of his eponymous debut album Elvis Presley. Presley performed his version of the song three different times on national television. It was also recorded by Buddy Holly and Eddie Cochran, among many others

 

 

Ray Charles - A Tear Fell (Paris 1968)

Through the years Ray Charles frequently performed in Paris. From the mid  '60s to the mid '70s La Salle Pleyel was the favorite concert venue. On 8 & 9  October 1968 and in early October 1969 (for a full week) he gave his concerts at La Salle Pleyel.

                                             A Tear Fell (feat.Billy Preston)

Musicians: Wallace Davenport (bandleader), Phil Guilbeau, Virgil Jones, David Philips - trumpet; Fred Johnson, Jay Clyde Miller - alto saxophone; Nathan Davis, Daniel Jackson - tenor saxophone; Leroy Cooper - bariton saxophone; Henry Coker, Glenn Childress (and Fred Murrell?)** - trombone; Billy Preston - organ, Fred Robinson - guitar, Edgar Willis - bass, Roger Humphries - drums. The Raelettes: Verlyn Flenaugh, Susaye Greene, Barbara Ann Lesure, Barbara Nell Terrault.

Ramblin Roots -Americans Music Festival (Tivoli Vredenburg okt.23 - 2021)

A visit to Ramblin Roots also means, because the offer is so large and various artists play simultaneously, make choices. I saw the unknown Austin Lucas, he started a cappella but then went wild with a solid port of country rock. Ian Siegal , old acquaintance with an all-star band, nice performance. Afterwards Jim Keller, what and discovery! Excellent guitarist/singer supported by a Dutch backing band. I saw Alan Feiles at Ries de Vuyst last week and also came on a big stage here he did full justice, beautiful performance. Dayna Kurtz and Robert Mache flew "last minute" from America especially for this occasion to replace Rhiannon Giddens. (thanks to Sandra Zuidema) for me also one of the highlights of the festival. They got the main hall quiet as a mouse. Beautiful!! The modest Diana Jones and the solid rock of Leif de Leeuw ensured the closure. In short, a wonderful festival, thanks to the organization!! 

                           Austin Lucas

                           IanSiegal 

                           Jim Keller with Dutch band

                                             Jim Keller

                          Arlan Feiles

                         Dayna Kuertz - Robert Mache

                                           Diana Jones

                             Leif de Leeuw Band
 

 

Dayna Kurtz & Robert Mache - Doopsgezinde Kerk , Middelburg (7-3-2017)

      Ik moet er in mijn jeugd,wonende in Middelburg ,ontelbare keren zijn langs gewandeld,De      Doopsgezinde Kerk in De Lange Noordstraat.Het gebouw was me eigenlijk nooit opgevallen. Het concert van Dayna Kurtz vestigde  de aandacht op dit mooie kerkje.Het blijkt een ,zowel van buiten als van binnen een prachtig onderhouden gebouw ,en.......een prima podium voor akoestische optredens.                                  

     Raise The Last Glas
 Dayna Kurtz heb ik in de loop de jaren al diverse keren zien optreden,oa Arsenaaltheater in   Vlissingen,RootsFestival in Utrecht en de Concert en Gehoorzaal in Middelburg.Ik ben altijd onder de indruk van haar songs en haar bijzonder stem..Ze heeft iets van gospel in haar optredens en dat kwam in deze kerk mooi tot uiting.

       Reconcider Me (Jonny Adams)

       Er was geen setlist deze avond,dus een vrij willekeurige keuze uit het uitgebreide repertoire van  Dayna .Dus ook tijd voor verzoeknummers,tot veel plezier van de vele trouwe fans in de zaal.Reconcider Me mocht natuurlijk niet ontbreken,een van mijn favoriete DK nummers. Een absolute toegevoegde waarde is gitarist Robert Mache,subtiel ,maar een man met juiste accenten .                                        

       Your Always Live Inside Of Me (fragment) Bobby Charles

  De toegift  was Mijn Vlaanderen Land van Brel, a-capella ,voorgedragen in het (jawel) NederlandsVlaams en bovenstaand Bobby Charles nummer, In kerk dus zingen met zijn allen!!

 Een mooie afsluiting van deze mooie avond.Complimenten voor het prachtige geluid(Henk Tjoonk)
Programmeur Chris Tangelder, en de koster voor zijn mooie kerkje,.

                                    

Chuck Berry - Sweet Little Sixteen (Jazz 0n A Summer Day - Newport Jazz Festival 1958)

Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer and songwriter, and one of the pioneers of rock and roll music. Nicknamed the "Father of Rock and Roll", Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958).Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.


Sweet Little Sixteen (Jazz 0n A Summer Day - Newport Jazz Festival 1958))

Keith Richards verteld in zijn prachtige autobiografie,,Live,,het volgende over bovenstaand optreden..
Er is een film gemaakt over de machtsverschuiving tussen Jazz en Rock&Roll in Jazz on A Summer Day.In die tijd was dat een uiterst belangrijke film voor beginnende rockmuzikanten,vooral door de aandacht voor Chuck Berry ,die tijdens het New Port Jazz Festival van 1958 Sweet Little Sixteen speelde.In de film zie je ook Jimmy Giuffre,Louis Armstrong en Thelonious Monk,maar Mick en ik gingen voor,,the man,,(Chuck)Die zwarte jas.Hij werd op het podium gezet-een bijzonder gedurfde actie van iemand,met Jo Jones op drums,een jazz grootheid.Jones was o.a de drummer van Count Basie.Volgens mij was Chuck apetrots toen hij het podium opstapte.Het was geen bijzonder goede versie van Sweet Little Sixteen,maar het was de houding van die gozers achter hem,eensgezind tegen de manier waarop hij keek en de manier waarop hij zich bewoog.Ze lachten hem uit!Ze probeerden hem op te naaien!Na elke paar beats tilde Jo Jones zijn drumsticks op en grijnsde alsof hij op een kleuterschool zat.Chuck wist dat het een verloren zaak was.En hij deed het niet echt goed ,als je goed luistert,maar hij won.En Jo Jones verknalde het.Hij had hem kunnen helpen in plaats van hem een mes in zijn rug te steken.Maar Chuck vocht zich er doorheen.

Chuck Berry - Wee Wee Hours

Charles Edward Anderson Berry (St. Louis, Missouri, 18 oktober 1926 - St. Charles, Missouri, 18 maart 2017)R.I.P

 

 Charles Edward Anderson "Chuck" Berry (born October 18, 1926) is an American guitarist, singer and songwriter, and one of the pioneers of rock and roll music. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics focusing on teen life and consumerism and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.

"Wee Wee Hours" is a song composed and recorded by Chuck Berry in 1955. Originally released as the B-side of Berry's first single "Maybellene", it went on to become a hit, reaching #10 in the Billboard R&B chart.
The song is a twelve-bar blues that has been described as "a slow, sensuous blues featuring some exceptional piano from Johnnie Johnson".^[2] "Wee Wee Hours" was on Berry's original audition tape submitted to Leonard Chess in hope of landing a recording contract with the Chess label. Although it seemed like a good fit with the record company's blues roster, Chess was even more interested in the song that became "Maybellene", the song that launched Berry's career as a rock 'n' roll star.
Berry often performed the song live and it is included on the 1969 Chuck Berry Live in Concert album and in the 1987 film Hail! Hail! Rock 'n' Roll with Eric Clapton.

Eddie Hinton (15 June 1944 – 28 July 1995)

Eddie Hinton (15 June 1944 – 28 July 1995) was an American songwriter and session musician best known for his work with soul music and R&B singers. He played lead guitar for Muscle Shoals Sound Rhythm Section from 1967 to 1971.
As a session guitarist, Hinton played on hit records recorded by Wilson Pickett, Arthur Conley, Aretha Franklin, Joe Tex, Solomon Burke, Percy Sledge, The Staple Singers, The Dells, Paul Kelly, Johnny Taylor, Elvis Presley, The Box Tops, R.B. Greaves, Boz Scaggs, Evie Sands, Looking Glass, Toots Hibbert and Otis Redding.
Hinton was a songwriter in his own right as well. His most well known song is "Breakfast in Bed" which has been recorded many times, most notably by Dusty Springfield and by UB40 with Chrissie Hynde. He also co-wrote "It's All Wrong But It's All Right" sung by Laura Lee.(Wikipedia)

                  Hard Luck Guy
 Hinton was a session guitarist non-pareil. After working with Southern bands like the Spooks and the Five Minutes, he played lead guitar for Muscle Shoals Sound rhythm section from 1967 to 1971. What most people didn't know at the time was that Hinton was also a talented singer, songwriter, arranger and producer in his own right. In the late '60s, Muscle Shoals was something of a hit factory for Atlantic Records recording artists, under the careful, patient tutelage of legendary producer Jerry Wexler. Hinton was just 22 when he was invited to the Shoals area by fellow songwriter and producer Martin Greene. The Hinton/Greene songwriting and producing team produced several country/soul hits, including "Cover Me," and "It's All Wrong But It's Alright" for Percy Sledge.(AllMusic)

                                          Lovin Chain

 Sadly, Hinton's 1978 critically hailed Capricorn Records debut, Very Extremely Dangerous, was released shortly before the Macon, Georgia-based label folded. In 1982, Jimmy Johnson of the Muscle Shoals rhythm section took Hinton into the studio to record a half-dozen songs for a new album, but that project was never released, and the blow to his ego, coupled with a divorce, sent Hinton into a personal tailspin. Changing musical trends brought popular tastes further away from blues and soul for a time in the '80s (until the rise of Stevie Ray Vaughan brought blues back into vogue) and Hinton was living on the streets in Decatur, Alabama when he ran into an old friend, John D. Wyker. Wyker and Hinton were friends in the University of Alabama's drum and bugle corps. Wyker saw to it that Hinton again had housing and a plan to record again. With the help of some friends, Owen Brown and Jeff Simpson, Wyker began recording Hinton at Birdland Recording Studio and the new songs were combined with the tunes recorded by Jimmy Johnson in 1982. The result was Letters from Mississippi, an album that sparked a career renaissance for Hinton.

                                        Cover Me

 It wasn't long before Hinton was in demand across Europe, Alabama, and the rest of the south for his unique, soulful blues vocals and expert guitar technique. Wyker continued to serve as a musical guru for Hinton's career rebirth and brought the singer and guitarist to Rounder Records' Bullseye blues subsidiary. Cry & Moan and Very Blue Highway were the result. Hinton recovered his health and general well-being and moved back home to Birmingham to live with his mother, all the while writing refreshingly good original songs. He made a short tour of Italy before returning to Birdland Studios in early 1995 to record a new album. As he was putting finishing touches on the new batch of songs, he suffered a fatal heart attack. The results, Hard Luck Guy, were released on a revived Capricorn Records in late 1998, and the songs are some of the most soul-stirring, thoughtful, and well-recorded tracks ever put on an album by a white blues artist. Anyone who is a fan of Otis Redding or Al Green will latch onto these songs like a hummingbird to a magnolia blossom. Also worth seeking out are his two releases for Rounder, Cry & Moan, and Very Blue Highway, as well as his European-only release, Letters from Mississippi.

                                          Dreamer

To be sure, Hinton packed a lot of inspiring music into his 51 years by way of all the legendary sessions on which he played lead guitar at Muscle Shoals. His vocals were also singularly unique, firmly planted in the South and drenched with second-nature blues and soul feeling.
Jerry Wexler's liner notes for Hinton's last release, Hard Luck Guy, (the title a nod to his prime influence, Otis Redding,) released on a revived Capricorn Records, are worth the price of the disc in and of themselves. Wexler says of Hinton in the liner notes: "He remains unique, a white boy who truly sang and played in the spirit of the great black soul artists he venerated. With Eddie it wasn't imitation; it was totally created, with a fire and fury that was as real as Otis Redding's and Wilson Pickett's."(AllMusic)

Illustraded Eddie Hinton dicography  (thanks Stephan)

 ww.wirz.de/music/hintefrm.htm