dimarts, 28 de març de 2017


Resultat d'imatges de ollie shepard

Ollie Shepard & Ollie Potter:Vocals

Stafford "Panuzza" Simon:Tenor Sax

Other musicians unknown

Recorded in New York City, N.Y. Monday, January 22, 1940

Originally issued on and this recording taken from the 1940 single (Decca 7805) (78 RPM)

Singer and pianist Ollie Shepard has sometimes been misidentified as a country blues artist, almost certainly because from October 1937 to April 1939 his bands were billed as Ollie Shepard & His Kentucky Boys. Generally speaking, his groups purveyed a pleasant, decidedly urban blend of blues with unusually uplifting lyrics, jump blues, jive, and swing. Shepard, whose vital statistics continue to elude researchers, began his recording career in Chicago and took himself to New York in 1938, achieving popularity as a Decca artist and switching to Okeh in 1941. While most of his bandmembers have yet to be identified, Shepard did start out with alto saxophonist Edgar Saucier and guitarist Lonnie Johnson, cut four sides with trumpeter Frankie Newton, tenor saxophonist Robert Carroll, and guitarist Teddy Bunn in May 1938 and was fortunate enough to have tenor saxophonist Chu Berry and pianist Sammy Price in the band in April 1939. Others who are known to have recorded with Shepard in New York during the years 1939-1941 are tenor saxophonists Walter Wheeler, Stafford "Pazzuza" Simon, and Theodore McCord, who also doubled on clarinet; Duke Ellington's longtime string bassist Wellman Braud, guitarist George Francis, and drummer Johnny Wells. A woman by the name of Ollie Potter also sang on a session that took place in 1940. In January 1942 Shepard cut eight sides for Okeh with a quartet that included tenor saxophonist Saxie Payne, and guitarist Carl Lynch, but these records were not released to the public. A sampling of Shepard's complete recorded works as reissued by Document in 1996 whets the appetite, but his professional life after 1942 is nearly impossible to piece together. A session for Columbia that took place in November 1950, for example, found him collaborating with singing trumpeter Hot Lips Page, but titles from that date, which include "Crazy with the Blues" and "Big Fine Automobile" do not appear to have made it onto any Hot Lips Page collections. The reported existence of other postwar recordings for the newly managed Okeh label, as well as Apollo, Coral, Gee, and Johnson would seem to justify either a third volume from Document or a truly comprehensive anthology of Shepard's complete recorded works as leader and sideman. Although he is known to have recorded as late as 1960, frustratingly little attention has been paid to this artist since his heyday during the years immediately preceding the Second World War.


Resultat d'imatges de richard m. jones

Richard M. Jones, born Richard Marigny Jones (sometimes written Richard Mariney Jones), (13 June 1892 – 8 December 1945) was a jazz pianist, composer, band leader, and record producer. Numerous songs bear his name as author, including "Trouble in Mind".

Jones grew up in New Orleans, Louisiana. Jones suffered from a stiff leg and walked with a limp; fellow musicians gave him the nickname "Richard My Knee Jones" as a pun on his middle name. In his youth he played alto horn in brass bands. His main instrument, however, became the piano. By 1908 he was playing in Storyville, the red-light district of New Orleans. A few years later, he often led a small band which sometimes included Joe Oliver. Jones also worked in the bands of John Robichaux, Armand J. Piron, and Papa Celestin.

In 1918 Jones moved to Chicago. He worked as Chicago manager for publisher and pianist Clarence Williams. Jones began recording in 1923, making gramophone records as a piano soloist, accompanist to vocalists, and with his bands The Jazz Wizards and The Chicago Cosmopolitans. He recorded for Gennett, OKeh, Victor, and Paramount Records in the 1920s. He also worked for OKeh Records as Chicago supervisor of the company's "Race" (African-American) Records for most of the decade. During this period he was the producer of the very influential Hot Five and Hot Seven recordings led by cornetist (later trumpeter) Louis Armstrong, the most important soloist in early jazz. In the 1930s Jones played a similar management role for Decca.

Richard M. Jones worked for Mercury Records until his death.

Bluebird 6569. Recorded on August 5, 1936 in Chicago, Illinois. Jones on vocal and piano, Lee Collins on trumpet, and an unknown musician on sax.


SUSAN SANTOS AT Los Conciertos de RADIO 3 - Rtve.

  Os ofrecemos el paso de SUSAN SANTOS por los Conciertos de RADIO 3 : 

Los conciertos de Radio 3 - Susan Santos, Los conciertos de Radio 3 en La 2 online, completo y gratis en RTVE.es A la Carta. Todos los programas de Los…

A great passion for the music led Susan Santos to learn, in a self-taught way, how to play guitar and sing. Step by step the lefty guitarist and singer was creating her own songs and her particular style of understanding the music. 
After several bands, and two discs recorded, in 2009, she moved to Madrid and formed a band with her own name, This is her more powerful project, a power trio that mixes blues and rock & american roots. 

She played in so many clubs & festivals in Spain, other countries in Europe & in USA too ( Los Angeles, Lonch Beach & Chicago). 

She recorded 4 cds "Take me home", (Grasa Records, 2010), "Shuffle Woman" (Peer Music,2012) and “Electric Love” (Paella Records,2014) & this year “Skin & Bones” (Paella Records,2016).

"Skin & Bones " is their fourth album and was recorded in Madrid (Spain) in 3 days with his usual trio. It was mixed in Los Angeles (California). Produced by Juan de Dios Martín.

" I feel that Skin & Bones is the album that Susan Santos always wanted to do . The sound horizons have expanded and an atmosphere of comfort breathe . There closeness and complicity in every note. Susan has grown a lot . We knew his skin, but we have now reached the bone. “ (Manolo Fernández, Radio 3 Spain)

Susan's outstanding voice and appealing guitar style, along with her strong stage presence is very refreshing in the contemporary blues scene. Blues-rock of XXI Century.