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