Apr 27, 1994
Fillmore Auditorium (San Francisco, CA)
Jesus On The Mainline Album - Paradise and Lunch
Ry Cooder - guitar, vocals,David Lindley - guitar, fiddle, vocals,Bobby King - tenor vocal,
Terry Evans - baritone vocal,Willie Green - bass vocal,Joachim Cooder - percussioN
Jesus on the Mainline (trad.) From the 1959 Sounds of the South series (Negro Church Songs)
on Atlantic 1351, performed by James Shorty, Viola James, and the
Congregation of the Independence Church in Tyro, MS. Other contemporary
recordings were by Rev. Dwight 'Gatemouth' Moore ['60, Audio Fidelity LP
1921], the Whispering Spirits of Baltimore, MD ['60, Choice 11, "Jesus
Is On the Mainline"], (Mississippi) Fred McDowell with the Hunter's
Chapel Singers ['66, "Jesus Is on the Mainline", Amazing Grace,
Testament T 2219] and several other gospel performers. Earlier
recordings by the same name was by Mrs. Lillie Knox ['37, Library of
Congress]. the Plantation Echoes ['37, "Jesus on De Main Line Too"
Library of Congress], the Jordan River Singers ['51, Nashboro 512];
"Jesus Is on the Mainline" was recorded by Maceo Woods in 1954 but
unissued. (History Of Ry Cooder Songs)
More than any other contemporary artists, Ry Cooder has
rediscovered, and reintroduced, the rich musical traditions of America
with a body of work that both celebrates those traditions and reshapes
them into a sound distinctly his own. Jazz is one of Cooder's
most ambitious and satisfying works - a paean to the glorious days of
jazz that captures both the spirit and the genius of the pioneering jazz
men of the '20s and early '30s.
Until 1978, Ry had already let us take a look at the sources of American and other roots music.Bues, R&B, gospel, folk, minstrel, calypso, Tex-Mex and Hawaiinmusic, this multi-instrumentalist turns his hand for nothing.The album Jazz added yet another aspect to Ry Cooder's musical quest. Jazz music from the early 1920s and 1930s interpreted inimitable Ry.
Shortly after this album came out, Ry gave a few legendary concerts with mainly songs from this album.the images and sound are not great, but Arthur thinks this is very beautiful ...
Ry Cooder
November 16, 1978 "Soundstage" Chicago, Illinois, U.S.A.
Big Bad Bill Is Sweet William Now (Milton Ager and Jack Yellen)
The Dream(Jack The Bear /Jess Pickett)
Ry about this song...,,The Dream,, is a slowdrag,whore house number,popular with the musicians of the generation before Morton.They called it ,,Spanish,,because of its tango or Habaniera beat.
Shine ( Ford Dabney & Cecil Mack)
Ry about this song...,,Shine,, has been recorded over the years by nearly everybody,but rarely in its original form.,,Shine,, passed into the jazz tradition mostley without the introductory verse that really explains what the song ia all about.The idea here was to reconstruct it in a 52nd Street -small band -setting.
Davenport Blues
Flashes
In A Mist Bix Biederbecke, of Davenport, Iowa, learned cornet from
some of the earliest jaz records and first-hand from the first jazz
players to come north from New Orleans. By the time of his death in
1931 at 29, he was a legend among his fellow musicians for his beautiful
cornet music. But he was also interested in concert piano and
particularly in the impressionistic style that Gershwin later became
associated with. "Davenport Blues", "Flashes" and "In A Mist" are represented here in a salon-jazz context that brings out the atmosphere of Bix's strange music.(Ry Cooder)
Nobody The great Bert Williams was the first black artist to
reach crossover stardom in Vaudeville. He would appear on stage in a
broken-down tuxedo and black face, (as if to mark the passing of Coon
songs and minstrelsesy), and recite his sardonic, double-edged
monologues. He got star billing with Ziegfield, incredible for the
times (c. 1910-1920), and his Columbia records like "Nobody" and "Samuel the Night Porter" were big sellers.(Ry Cooder)
Maria Helena(Lorenzo Barcelata )(not on this album)
De song was een eerbetoon aan María Elena, de vrouw van de Mexicaanse President Emilio Portes Gil
Orchestra arranged and conducted by Joseph Byrd
Ry Cooder - acoustic guitar and vocals with: David Lindley - mandolin Art Baron - trombone Joe Wilder - trumpet Phillip Bodner - reeds Walter Kane - reeds Harvey Pittel - reeds Tom Collier - vibraphone Phillip Namenworth - piano George Duvivier - bass Mark Stevens - drums
Gospel vocal quartet: Bill Johnson Jimmy Adams Clifford Givens Simon "Pico" Payne
The idea behind this album was that there has always been
a lot going on in the periphery of popular jazz trends. We wanted to
provide a thread of alternative jazz settings to some great music that
falls within the one hundred year scope of jazz in America.
R.C.
Ryland Peter (Ry) Cooder (Los Angeles, 15 maart1947) is een Amerikaansgitarist en producer.
Aanvakelijk werkte hij als slide gitarist. Cooder heeft veel gewerkt
als studiomuzikant waarbij hij aan vele film-soundtracks heeft
meegewerkt.
Kort na het uitbrengen van het album Showtime volgde een toernee met de complete bezetting van het album.Het optreden in Nederland destijd heb ik gemist ,maar gelukkig zijn er deze prachtige concertbeelden uit
BBC TV Centre
Shepherd's Bush
London
U.K.
1977-01-31
The Tattler
Van het prachtige album Paradise &Lunch geschreven door Ry Cooder,Russ Titleman en Waschington Phillips
Dark end of the Street
"The Dark End of the Street" is geschreven door Muscle Shoals songwriters Dan Penn en Chips Moman en was voor het eerst een hit van James Carr.
Jesus on the Mainline
Nog een nummer van het Paradise & Lunch album ,een echte gospel traditional.
Ry exeleert op de slide.
Goodnight Irene
"Goodnight, Irene" or "Irene, Goodnight," is een American folk standard,geschreven in in 3/4 maat, voor het eerst opgenomen door de Amerikaanse blues musician Huddie 'Lead Belly' Ledbetter in 1932.
Big hand for the Band!
Ry Cooder : Guitar, Vocals
Pat Rizzo : Alto Saxophone
Isaac Garcia : Drums
Big Red : Bass Guitar
Jesse Poncez : Guitar
Flaco Jimenez : Accordion
Eldridge King : Vocals
Terry Evans : Vocals
Bobby King : Vocals
We'll Never Turn Back is the eleventh studio album by American gospel and soul singer Mavis Staples, released April 24, 2007 on ANTI- Records. Recorded in 2007 and produced by roots rock and blues musician Ry Cooder, it is a concept album with lyrical themes relating to the African-American Civil Rights Movement of the 1950s and 1960s.
From the moment that Roebuck “Pops”
Staples befriended Martin Luther King in the early ‘60s, the Staple
Singers’ brand of gospel developed an explicitly political edge. They
recorded church music spiked with righteous anger (like the funk
standard “Why Am I Treated So Bad”); or redemption songs that were as
political as they were spiritual, like their 1972 US chart-topper “I’ll
Take You There” (complete with sly anti-Nixon digs like “Ain’t no
smiling faces/Lying to the races”). (UNCUT)
Down In Mississippi (JB Lenoir)
Now, seven years after Pops’ death, his
daughter Mavis continues that tradition with “We’ll Never Turn Back”, an
album of ‘60s civil rights anthems. It’s produced and musically
directed by Ry Cooder, and like Cooder’s recent album “My Name Is
Buddy”, it investigates the flipside of the American dream – the America
of radical protest and collective action.
(UNCUT)
Original versions of these songs can be
found on various Smithsonian Folkways compilations: Staples says the aim
was “to upgrade them”. Not all of it works – here “We Shall Not Be
Moved” is reduced to a dreary pub blues workout (UNCUT)
We Shall Not Be Moved (Trad)
But elsewhere it succeeds brilliantly.
“Eyes On The Prize” and the title track become thrilling slices of
southern-fried funk which recall Dr John’s “Walk On Gilded Splinters”. (UNCUT)
In the Mississippi River (M Jones)
JB Lenoir’s “Down In Mississippi” is given
a haunting, Afrocentric edge by Ladysmith Black Mambazo, while Ry
Cooder’s wobbly, steel-bodied guitar is the perfect counterpoint to
“Jesus Is On The Main Line”.
(UNCUT)
If Mavis’s voice has become rather ragged
in the higher register, her clarity and phrasing are still perfect. “In
The Mississippi River”, a shocking, “Strange Fruit”-type dirge about
lynch mob victims being dredged from the water, sees Staples growling
the story, while ‘60s veterans The Freedom Singers provide luscious
harmonies.
(UNCUT)
99 & 1/2 (Ry Cooder.Mavis Staples.Trad.)
All round, it’s a successful fusion of
tradition and modernism. As Rutha Harris’s high-pitched howl takes on
the disembodied quality of a rave sample, it’s hard not to be won over
by the project’s eerie majesty. (UNCUT)
My Own Eyes (D.Bartlett.Mavis Staples.Ry Cooder)
UNCUT: How has your voice changed over the years?
MAVIS STAPLES: Obviously, I can’t sing some of the high notes – a lot of
songs I’ve had to sing in a lower key. Pops always said “make it plain”
and I’ve always tried to do that, You have to pronounce the words
clearly to tell the story.(UNCUT)
Turn Me Around (Trad.)
“We Shall Overcome” is notable by its absence…
Yes. I think the Civil Rights struggle moved on. After years of Dr
King’s leadership, we were no longer at the bottom. “We’ll Never Turn
Back” had a much stronger resonance for African Americans.
(UNCUT)
We,ll Never Turn Back (Bertha Gober)
How does Ry Cooder compare with Prince as a producer?
They’re different types of genius! When Prince produced two albums of
mine in the 1980s he was rarely with me in the studio. But Ry does
things like we did back in Muscle Shoals, with all the singers and
musicians playing together. Sometimes, with Ry, I could hear touches of
Pops. It’d hear some stray guitar lick and it’d send a shiver up my
spine.
(UNCUT)
I,ll Be Rested (Ry Cooder..Joachim Cooder.Mavis Staples)
The Washington Post's
Bill Friskics-Warren shared a similar sentiment in his review, writing
"Staples reinvests… with the moral authority to speak to social and
economic injustices that persist today" and "rarely have 'remakes'
sounded so tonic or inspired". The album received an A rating from the Boston Herald, which wrote "In the course of celebrating a landmark, Staples and Cooder make one of their own". We'll Never Turn Back also received perfect ratings from The Independent and NOW magazine.[6][16]LA Weekly's
Ernest Hardy gave it a rave review and lauded the album's sound,
writing "Powerfully raw, suggestive blues is the foundation of the CD,
but that root allows the collaborators to sprawl through other genres,
reminding you of the connections between them all — blues and gospel,
spirituals and jazz"
Jesus On The Mainline (Mavis Staples.Trad.)
Ry Cooder - guitar, mandolin, arranger, producer,Joachim Cooder - percussion, arranger, producer,
Mike Elizondo - bass, piano.Betty Fikes - background vocals,Rutha Harris -background vocals,
Jim Keltner - drums,Ladysmith Black Mambozo - background vocals,Charles Neblett - background vocals,
The Freedom Singers
The Washington Post's
Bill Friskics-Warren shared a similar sentiment in his review, writing
"Staples reinvests… with the moral authority to speak to social and
economic injustices that persist today" and "rarely have 'remakes'
sounded so tonic or inspired". The album received an A rating from the Boston Herald, which wrote "In the course of celebrating a landmark, Staples and Cooder make one of their own". We'll Never Turn Back also received perfect ratings from The Independent and NOW magazine.[6][16]LA Weekly's
Ernest Hardy gave it a rave review and lauded the album's sound,
writing "Powerfully raw, suggestive blues is the foundation of the CD,
but that root allows the collaborators to sprawl through other genres,
reminding you of the connections between them all — blues and gospel,
spirituals and jazz".
The Washington Post's
Bill Friskics-Warren shared a similar sentiment in his review, writing
"Staples reinvests… with the moral authority to speak to social and
economic injustices that persist today" and "rarely have 'remakes'
sounded so tonic or inspired". The album received an A rating from the Boston Herald, which wrote "In the course of celebrating a landmark, Staples and Cooder make one of their own". We'll Never Turn Back also received perfect ratings from The Independent and NOW magazine.[6][16]LA Weekly's
Ernest Hardy gave it a rave review and lauded the album's sound,
writing "Powerfully raw, suggestive blues is the foundation of the CD,
but that root allows the collaborators to sprawl through other genres,
reminding you of the connections between them all — blues and gospel,
spirituals and jazz".
We'll Never Turn Back was named one of the best albums of 2007 by several music writers and publications, including PopMatters (number 11) and The Austin Chronicle (number five). The album was ranked number 48 on Rolling Stone magazine's list of the Top 50 Albums of 2007. Los Angeles Times columnist Todd Martens named We'll Never Turn Back the second best album of the year,[and Greg Kot of the Chicago Tribune ranked it number one on his list of the best albums of 2007.
The spiritual home of great rock music. Classic
interviews, in-depth new album reviews, essential news stories, live
reviews, films, DVDs and much more. http://www.uncut.co.uk/
San Patricio is an album by the Irish musical group, The Chieftains featuring Ry Cooder, released in 2010. It was their first album with Hear Music and the first studio album in over six years since Further Down the Old Plank Road (2003). It tells the story of the San Patricio battalion—a group of mainly Irish immigrant volunteer soldiers who deserted the U.S. Army in 1846 to fight on the Mexican side in the Mexican–American War (1846–1848).
Little Village is geformeerd in 1992 en bestond uit Ry Cooder (guitar, vocal), John Hiatt (guitar, piano, vocal), Nick Lowe (bass, vocal) and Jim Keltner (drums). In mijn ogen een echte ,,supergroup,, Deze muzikanten hadden eerder als groep samengewerkt tijdens de opnames voor het john Hiatt soloalbum Bring The Family in 1987.
FOOL WHO KNOWS
Little Village eerste en enige album kwam uit in 1992 onder de naam Little Village.Al de groepsleden componeerde een paar nummers waarbij John Hiatt meestal de leadvocals voor zijn rekening nam. Het album werd genomineerd voor een Grammy in de catorogie "Best Album
DON'T THINK ABOUT HER WHEN YOU'RE DRIVING
Na het uitkomen van het Little Village album volgende een tournee door Amerika en Europa.o.a in Ahoy in Rotterdam welke ik helaas gemist heb.
John Hiatt
John Hiatt (Indianapolis, 20 augustus 1952) is een Amerikaanse singer-songwriter.
John Hiatt begon zijn solocarrière in 1974. Hij beoefende een groot aantal stijlen, van rock and roll tot New Wave en folk. Hij schreef veel songs voor andere artiesten. In Nederland brak hij door met de plaat Bring the Family (1987). Daarop volgen Slow Turning (1988), Stolen Moments (1990), en Perfectly Good Guitar (1993). In het najaar van 2007 kwam Hiatt naar Nederland voor een viertal solo concerten. In 2008 kwam de plaat Same Old Man uit, in 2010 gevolgd door The Open Road.
Jim Keltner
James Lee "Jim" Keltner (Geb. April 27, 1942) heeft met ontelbaar veel artiesten samengewerkt...
Leon Russell, Gabor Szabo, Delaney Bramlett, Roy Orbison, Harry Nilsson, Jerry Garcia, Eric Clapton, Steely Dan, Joe Cocker, Van Dyke Parks, the Rolling Stones, Ronnie Wood, Bill Wyman, Mick Jagger, Keith Richards, Bob Dylan, Joni Mitchell, Brian Wilson, Seals and Crofts, The Ramones, Bill Frisell, Neil Young, Crosby, Stills, Nash and Young, Phil Keaggy, Steve Jones, Crowded House, Fiona Apple, Elvis Costello, The Bee Gees, Jackson Browne, The Manhattan Transfer, Randy Newman, Ry Cooder, Sam Phillips, Los Lobos, Pink Floyd, Warren Zevon, Rufus Wainwright, Tom Petty, Gillian Welch, the Steve Miller Band, Alice Cooper, Sheryl Crow and Lucinda Williams en vele anderen. Hij speelde op Carly Simon's 1971 album, Anticipation. In 1973 was Keltner de session drummer op Bob Dylan's Pat Garrett & Billy the Kid,waarop het nummer "Knockin' on Heaven's Door". Jim vertelde over deze sessie "it was a monumental session for me because it was such a touching song, it was the first time I actually cried when I was playing".
Nick Lowe
Nicholas Drain Lowe (Walton-on-Thames, 24 maart 1949) is een Brits singer-songwriter en producer. Hij schreef onder andere “(What’s So Funny ‘Bout) Peace, Love, and Understanding,” dat een hit voor werd Elvis Costello, en “Cruel to be kind”. Zijn grootste hit in de Benelux was "Half a Boy and Half a Man", een nummer dat hij in aangepaste versie zelfs nog speelt tijdens zijn tour met Ry Cooder in 2009.
Lowe werkte samen met veel artiesten, waaronder Dave Edmunds, The Damned, Elvis Costello, Paul Carrack en The Pretenders. Ook maakte hij deel uit van het studio project 'Little Village' met John Hiatt, Ry Cooder en Jim Keltner.
Ry Cooder
Ryland Peter (Ry) Cooder (Los Angeles, 15 maart 1947) is een Amerikaans gitarist en producer. Aanvankelijk werkte hij als slide gitarist. Cooder heeft veel gewerkt als studiomuzikant waarbij hij aan vele film-soundtracks heeft meegewerkt. Cooder verzorgde onder andere de filmmuziek voor Paris, Texas (1984) van Wim Wenders. Ook speelde hij onder meer in Captain Beefheart’s Magic Band.
Onlangs verscheen zijn trilogie: Chavez Ravine, My name is Buddy en I, Flathead. Ook verscheen in 2008 de verzamelaar The UFO has landed die zijn filmmuziek en zijn solo-werk bundelt.
Hij werkte samen met de Rolling Stones tussen 1968 en 1970. Zo speelde hij de slide gitaarsolo op Sister Morphine. Cooder vertrok bij de Rolling Stones omdat hij vond dat de leden van de Stones er met zijn liedjes vandoor gingen (plagiaat).
Cooder heeft vele albums gemaakt waarop hij samenspeelt met bekende en minder bekende muzikanten en in minder bekende stijlen. Een voorbeeld hiervan is Chicken Skin Music wat resulteerde in een hernieuwde belangstelling voor muziek uit Hawaï.
Ook had hij een bijdrage op het album Safe As Milk van Captain Beefheart, waar hij slide gitaar speelde.
In 1994 nam hij met de Malinese bluesgitarist Ali Farka Touré het album Talking Timbuktu op. Op zijn album Buena Vista Social Club (1997) werkte hij samen met Cubaanse muzikanten, wat hem een Grammy Award opleverde. Wim Wenders regisseerde een documentaire over dit project, die in 2000 genomineerd werd voor een Academy Award.
Het album van de Week!
Little Village-Little Village
Nobody (1913)Origineel van Bert Williams,Egbert Austin Williams (November 12, 1875 – March 4, 1922) Zeer beroemde en een van de meest populaire zwarte komische entertainers van zijn tijd.
303 Ry Cooder Paradise and Lunch
Jesus on the Mainline
304 Ry Cooder music by Ry Cooder (Soundtrack The Long Ryders by Ry Cooder)
Bumbershoot is one of Seattle's largest cultural touchstones. Each
year thousands of people across the country flock to Seattle to attend
the acclaimed festival, which has become one of the unique and
most-loved contemporary festivals in North America.
"Vigilante Man" is a song by Woody Guthrie, recorded and released in 1940 as one of his Dust Bowl Ballads.[1]
The song is about the hired thugs ("vigilantes") who would violently chase away migrants to California trying to escape the Dust Bowl, a man-made ecological catastrophe in the American Great Plains during the 1930s. One verse refers to the murder of Preacher (Jim) Casy, a central figure in John Steinbecks' 1939 novel The Grapes of Wrath.
Ry Cooder used for his album "Into The Purple Valley"
"Mercury Blues" is a song written by K. C. Douglas and Robert Geddins, and first recorded by Douglas in 1948.[1] The song, originally titled "Mercury Boogie," pays homage to the Americanautomobile, which ended production in 2010.
Chuck Berry originally recorded Thirteen Question Method written by Chuck Berry. Chuck Berry released it on the audio album New Juke Box Hits in 1961 Ry Cooder,s version on the album "Get Rythm"
Ryland Peter (Ry) Cooder (Los Angeles, 15 maart1947) is een Amerikaansgitarist en producer. Aanvakelijk werkte hij als slide gitarist. Cooder heeft veel gewerkt als studiomuzikant waarbij hij aan vele film-soundtracks heeft meegewerkt.
Ry had ons tot 1978 al een kijkje laten nemen in de bronnen van de Amerikaanse en andere roots muziek. Bues, R&B, gospel, folk, minstrel, calypso, Tex-Mex and Hawaiinmusic ,nergens draait deze multi-instrumentalist zijn hand voor om. .Het album Jazz voegde weer een nieuw aspect toe aan Ry Cooder,s muzikale zoektocht.Jazz muziek uit de vroege jaren1920 en30 op onavolgbare door Ry geinterpeteerd.
Kort nadat dit album uitkwam gaf Ry een paar legendarische concerten met hoofdzakelijk nummers van dit album. de beelden en het geluid zijn niet super, maar Arthur vind dit toch erg mooi... Ry Cooder November 16, 1978 "Soundstage" Chicago, Illinois, U.S.A.
Big Bad Bill Is Sweet William Now (Milton Ager and Jack Yellen)
Ry Cooder - acoustic guitar and vocals with: David Lindley - mandolin Art Baron - trombone Joe Wilder - trumpet Phillip Bodner - reeds Walter Kane - reeds Harvey Pittel - reeds Tom Collier - vibraphone Phillip Namenworth - piano George Duvivier - bass Mark Stevens - drums
Gospel vocal quartet: Bill Johnson Jimmy Adams Clifford Givens Simon "Pico" Payne
Dat was nog eens een leuk bericht op het mooie weblog Peerkes Plaatjes Ry Cooder komt deze kant op en nog wel in gezelschap van die andere gigant Flaco Gimenez! Natuurlijk moet Arthur daar bij zijn,het was even kiezen of Carre of de Koninging Elizabeth Zaal Antwerpen.Het is de laatste geworden,altijd gezellig in Antwerpen en lekker dichtbij.
Om er alvast in te komen een concert van Ry met een superband uit 1987 in The Catalyst, Santa Cruz, CA op 25 Maart 1987.
How Can a Poor Man Stand Such Times and Lives Prachtige slide gitaarsolo van Ry
Band: Ry Cooder: guitar, vox Jim Keltner: drums Van Dyke Parks: keys Jorge Calderon: bass Flaco Jimenez: accordion Miguel Cruiz: percussion Steve Douglas: sax George Bohannon: trombone
Maria Helena Op trombone George Bohannon Luister ook nog eens naar de versie van Los Indios Tabajaras
Goodnight Irine (Leadbelly song)
Singers: Bobby King: tenor Terry Evans: baritone Arnold McCuller: tenor Willie Green Jr: bass
Jesus is on the Mainline Ry op een heel apart soort mandoline/gitaartje!
November 16, 1978 "Soundstage" Chicago, Illinois, U.S.A. Bix Beiderbecke ,of Davenport,Iowa,learned cornet from some of the earliest jazzrecords and firsthand from the first jazzplayers to come north from New Orleans .By the time of his death in 1931 at 29,he was a legend among his fellow
musicians for his beautiful cornet music.But he was also interested in
concert piano and particularly in de impressionistic style that Gershwin
later associated with.Davenport Blues,Flashes and In A Mist are represented here in a
salon-jazz context that bring out the atmosphere of Bix,s strange music
(Ry Cooder)
Flashes
"Flashes" is a 1931 jazz composition for solo piano by cornetist Bix Beiderbecke. The song is the third work in a series of four compositions for piano composed by Bix Beiderbecke during his career.
Bix Beiderbecke did not record the song himself but copyrighted the
composition on April 18, 1931, along with "In the Dark", also a piano
work, as "A Modern Composition for the Piano". Bill Challis assisted
with the transcription for piano. "Flashes was recorded by jazz pianist Jess Stacy on November 15, 1935. Jazz trumpeter Bunny Berigan
recorded the song in 1939 and released it as a 78 single on RCA Victor,
26121-A. In 2010, pianist Bryan Wright recorded the work on piano along
with the three other piano compositions by Bix Beiderbecke, "In a
Mist", "Candlelight", and "In the Dark".
In A Mist
"In a Mist" is a 1927 song composed by Bix Beiderbecke and released as a 78 single on Okeh as a piano solo. The song has become a jazz and pop standard.
"In a Mist" was recorded on September 9, 1927 in New York and
released as Okeh 40916 and Vocalion 3150 backed with "Wringin' an'
Twistin'" which was recorded with Frankie Trumbauer and Eddie Lang. Bix Beiderbecke played piano on the recording.
Bix Beiderbecke performed the composition on piano accompanied by Roy Bargy and Lennie Hayton at Carnegie Hall on October 7, 1928 at a jazz concert presented by Paul Whiteman.
Davenport Blues
Davenport Blues is a 1925 song composed and recorded by Bix Beiderbecke and released as a Gennett 78. The song has become a jazz and pop standard.
"Davenport Blues" was recorded by Bix Beiderbecke and His Rhythm Jugglers on January 26, 1925, in Richmond, Indiana, and released as Gennett 5654 backed with "Toddlin' Blues" as the A side. The band consisted of Tommy Dorsey
on trombone, Paul Madeira Mertz on piano, Don Murray on clarinet, Howdy
Quicksell on banjo, Tom Gargano on drums, and Bix Beiderbecke on
cornet. The title derives from the name of Bix Beiderbecke's hometown of
Davenport, Iowa.
Beautiful performance by Ry Cooder and his fine band. According to me in his best period. The collaboration with John Hiatt here makes it extra special.
Ry Cooder - guitar, vocals.John Hiatt - guitar, vocals.Jesse Harms: keyboards.James Rolliston - bass.Daryl Verdusco - drums.Bobby King - vocals.Willie Green Jr - vocals
Setlist: Down in the Boondogs- Crazy ‘Bout an Automobile (Every Woman I Know)-Why Don’t You Try Me-634-5789-Down In Hollywood
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