Kedves embertársaim, Szeretett blogászok!

Mindenkinek kellemes, békés, boldog örömteli, bőséges Ünnepeket kívánok!

egy ember

SZABADSÁG, SZERETET, TESTVÉRISÉG (We shall over come.)

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Tekintettel, hogy ez a blog immár 2.5 éve arról híres, hogy megpróbál a szerény és kevés kommunikatív eszözömmel a szeretet, béke, egyenlőség tolerancia segregatió, rasszistaellenesség zászlóvivője lenni, mint azok, akik itt megszólalnak, kívánok tehát keresztény, keresztyén testvéreinknek boldog karáconyt, hittestvéreimnek boldog Hanukát.

Mazle Topf

TŐLEM INDULHATUNK !!!

SZEKERES ANDRÁS és a MBB, Cripple Creek

Még ma is emlegetünk (Pesten Temesivel, Zalánnal stb.. ) egy koncertet, ahol ezt előszőr játszottam, .. én sem tudom régen volt, szép, gyönyörü, az Isten ha volna a mennyekben talán lejönne, hogy mit kell megismételnie.
Szeretném, hogy megértenétek Blogászok, az élet miről is szólt- felesek és egyebek nélkül- akkor piciny lelkünkben, s mivé vált a lélek galambja, hisz repülni csak az tud, kinek szárnyakat ada Ura, vagy lelkének szárnyakat, hogy azt azzal pótolja.

Miért kell feltétlenül lezárt, vagy lezáratlan algoritmusok között tévelyegnünk.
Zalánnak egyszer elmeséltem egy verssorom még Pórlódon (Szeged)
"..s kéz a kézben, hátunkon vívózsákkal imbolyongtunk a ritka szegedi ködben, de meleg volt, s szerelem volt, s tolerancia volt és évekig tartott ez a "vívózsákos" érzés.
Ezért viszlek mindíg új utakra Bennetek, hátha megérint ennek az érzésnek szele.

My Review of Sheplers by Old West leather roper cowboy boots

Originally submitted at Sheplers

Our "Pay Dirt" roper cowboy boot features a genuine leather upper with man-made lining. 10" shaft. Durable composition sole. Roper toe and heel. Welted construction.

• Our best selling leather roper boot at a budget-friendly price - exclusive to Sheplers!
• A lower shaft ...

Sheplers by Old West leather roper cowboy boots

cowboy boots

By banjoboy from Hungary on 11/17/2009

 

4out of 5

Sizing: Feels true to size

Width: Feels true to width

Pros: Comfortable

Cons: Uncomfortable

Boot is originaly skin.Very nice color, and all outwear ,thers shopping i was frim the Shzeplers is gioos color and style

(legalese)

HITLER BANJO PLAYER

Mai nap aláírtam egy lapot., nyomtatvány, bármit. Csak a csípőm roppant bele.

Aztán hirtelen eszembe ötlött egy dátum jubileuma, s felforgattam a lakást, egy olyan felvételért, amit Magyarországon még nem láttak. A zenéjét Ledbelly szerezte, s vagy a gárdákról, vagy kis Tolna megyei metaformotikus biszexuálisról. Mindenestre ne felejtsük, a Magyar Gárda is kis létszámmal indult, de a sörpucccsut sem hatezren csinálták. A kis faluban viszont ..-törékeny lett a lét.

Vigyázat Magyarország..!!!

"Vigyázat Istenfélők és drogosok

wiskys-kisek és nagy-mámorosok,

vigyázat, mert rátok söpör a gaz homok,

s a gonosz földel teríti a Földet"

(Allen Ginsberg, for. Szekeres)

A Furcsa pár ( BobDylan and Paul Simon)

Ady Endre, Magyar Napló

"Polgárosodni fog a pápua is. Egy fajtát akkor is meg fog kímélni a túlpolgárosodott társadalom. A múvészfajtát.Ezt meghagyja -nomádnak. Mert ez a fajta az ő lelkiismerete. Örök hirdetője a társadalmi s egyre társadalmibb ember elérhetetlen, bels örök vágyának, a társadalomtalanságnak " Ady Endre

Ebben a szellemben önösszámúzetésben folytatták egyesek művészetüket, mint pl. Dylan. És egy ritkaság Paul Simon együtt.

Easy Rider

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Kis szösszenetem muszáj volt megosztani Veletek!!

KARNEVÁL

Hamvas Bélának

Éjjel tréfálkozott velem a párnám;

anyám visszadobta piruláit dobozaiba,

Apuban újra pumpálni kezdett az élet.

Reggel aztán ordas bunkók körében

kacsintott rám a kacagó Nap

tudatta velem-, hol élek.

2009.09.27.17:30

McGhee and Terry duo

Eal success came after he moved to New York in 1942, when he teamed up with Sonny Terry, whom he had known since 1939 when Sonny was Blind Boy Fuller's harmonica player. The pairing was an overnight success; as well as recording, they toured together until around 1980. As a duo, Sonny Terry and Brownie McGhee did most of their work from 1958 until 1980, spending eleven months of each year touring, and recording dozens of albums.

Despite their later fame as "pure" folk artists playing for white audiences, in the 1940s Terry and McGhee also attempted to be successful black recording performers, fronting a jump bluescombo with honking saxophone and rolling piano, variously calling themselves "Brownie McGhee and his Jook House Rockers" or "Sonny Terry and his Buckshot Five," often with Champion Jack Dupree and Big Chief Ellis. They also appeared in the original Broadway productions of Finian's Rainbow and Cat on a Hot Tin Roof.

During the blues revival of the 1960s, Terry and McGhee were very popular on the concert and music festival circuits, occasionally adding new material but usually remaining faithful to their roots and their audience. With Sonny Terry, he appeared in the 1979 Steve Martin comedy The Jerk. In 1987, McGhee gave a small but memorable performance as ill-fated blues singer Toots Sweet in the supernatural thriller movie, Angel Heart.

Happy Traum, a former guitar student of Brownie's, edited a blues guitar instruction guide and songbook for him. Using a tape recorder, Traum had McGhee instruct and, between lessons, talk about his life and the blues. Guitar Styles of Brownie McGhee was published in New York in 1971. The autobiographical section features Brownie talking about growing up, his musical beginnings, and a history of the early blues period (1930s onward).

One of McGhee's final concert appearances was at the 1995 Chicago Blues Festival.^[1]

McGhee died from stomach cancer in February 1996 in California at age 80: he missed his planned return trip to Australia.^[3]

Sonny Terry & Brownie McGhee - Down by the Riverside & Fighting a Losing Battle

A Blues Nagyjai közt tallózva ismét egy legendás, hármas ritka felvételére bukkantam. Mint tudjuk a 60-s évek példaképeim, a nagyok, Pete Seeger, Cash, Bob Dylan, Baez, Donovan, Guthrie mind a vietnámi háború ellen tüntető fiatalsággal váltak érzelmi egységgé. Ideológiát, lelkesedést öntve szívükbe, hisz maguk is e kor eszméit tették magukévá. Értelemszerüen társultak hozzájuk Ginsbergék, a beatmekek, így ők, és egy millió együtt dobbanó 20 éves szív óriási erőt képviseltek. Woodstock ennek legpregnánsabb példája. A protest song, és a szabadverselés fogott itt kezet egymással Kerouac sírja felett. Corso még írt dalokat Dylanek a kezdeti időkben.

Természetesen a hatalom ezt a harmonikus együttlétet a nem nézte jó szemmel. Pete Seeger is "szájzárat" kapott az FBI-tól, s az ABC TV csatornán vezethetett egy népzenei műsor. Seeger azonban ezekben a műsorokba a kor legnagyobb zenei egyéniségeit hívta meg, a fent felsoroltakat többek között, s így ismét együtt végezhették immár a médián keresztül annak valódi-ma már rég elfelejtett feladatát- a morális egyenesség, a tisztesség, a szabadság eszméinek nyílt, őszinte interprtálását. Igy került össze Pete Seeger, Sonny Tery, a harfli király, és Brownie McGhee egy felvételre.

Gitár harfli, banjo a legnagyobbaktól. Ez igazi zenei legendárium.

Stewball by Ledbelly

LIFE of LED BELLY

Leadbelly (1888-1949) - born Huddie Ledbetter

American blues singer, "King of The Twelve-String Guitar," who twice sang himself out of jails. Ledbetter helped to inspire the folk and blues revivals of the Fifties and Sixties and he was one of the first traditional folk musicians to perform for a city audience. Ledbetter's perseverance and power earned him the nickname Leadbelly - he could pick in the cotton fields 1,000 pounds a day. According to some critics, Leadbelly's rendition of Blind Lemon's 'Matchbox Blues,' using a knife-slide guitar technique, was probably the finest blues he ever recorded. "Friend, did you bring me the silver, Friend, did you bring me the gold, What did you bring me my dear friend, To keep me from the gallow's pole. " (from Leadbelly, Shout On!, 1948) Huddie Ledbetter (Leadbelly) was born on 15 January (in some sources on Jan. 21), 1888, by Caddo Lake near Shreveport, Louisiana. He grew up in Louisiana and Texas, where his family moved when he was five. At home his uncle Bob taught him to play the guitar and his father taught him accordion. Travelling around in his early teens, Leadbelly picked up music that dated back to slave days. He absorbed all kinds of music he heard and made it his own. His mother sang spirituals and children's play songs, from wandering piano players he adopted the bass figurations of boogie woogie, and in barrelhouses and prison he heard songs that came straight from the heart. First Leadbelly played an eight-string and later 12-string guitar, which was to become his trademark instrument. Also many other blues singers, notably Blind Willie McTell and Lonnie Johnson on some of his earliest records, used the 12-string Stella. At the age of sixteen Leadbelly was married, and he played and drank all night. At eighteen he went to Texas where he picked cotton, and had many other jobs, too. In Dallas in 1910 he heard a jazz band playing for the first time. There he also met Blind Lemon Jefferson, who taught him many songs. With his quick temper Leadbelly lived violently and he had trouble with "the truculent Dallas prostitutes". His musical career was interrupted in 1916, when he was jailed for assaulting a woman. His parents mortgaged their farm to pay for the lawyer. Leadbelly escaped from the chain gang - across a fresh-ploughed field - and spent a couple of years hiding under the alias of 'Walter Boyd'. His freedom outside society ended when he shot and killed a man in an argument over a woman, and received a 30-year sentence in Harrison County Prison in Texas. In prison he learned 'Take This Hammer', in which the song is punctuated by the hammer stroke of the chain gang. In one of his songs, Leadbelly recalls a working day under the hot summer sun. To communicate with each other, the men shouted back and forth, trading lines of a song, or casually improvising new words to a familiar tune. Leadbelly sang this shout to attract the attention of the water boy, who would ease the thirst of the workers: "Bring me little water, Silvie, Bring me little water, now, Bring me little water, Silvie, Every little once in a while." Seven years later, in 1925, a song begging Texas governor Pat Neff for a pardon released Leadbelly from prison. Neff had sworn never to pardon anybody as long as he was governor. However, Leadbelly was soon back behind bars at Louisiana's State Penitentiary (better known as Angola) by 1930, this time for "assault with intent to murder." "Mother, did you bring me silver? Mother, did you bring me gold? What did you bring me mother, Keep me from the gallows pole? What did you - what did you - Keep me from the gallows pole?" (from 'Gallis Pole') In 1933 folklorists John A. and Alan Lomax found Leadbelly, and recorded his songs for the Library of Congress. Leadbelly sang with a powerful, rough voice and was recognized by prisoners and jailers alike as one of the greatest performers in the region. He was not a master of technicalities - his tempo varied according to his feelings and he didn't try difficult chords. His playing was straight and honest, and although his Louisiana accent was sometimes impossible to understand, his songs won the audience with their emotional impact. Leadbelly's lyrics went to the point; they were simple but the listener could give them his or her own meaning. Washington D.C. in 'Bourgeois Blues' became an allegory of all cold gig cities: "Look a here people, Listen to me / Don't try to find no home down / in Washington D.C. / Lord it's a bourgeois town, ooh, its a bourgeois town. / I got the Bourgeois Blues / I'm gonna spread the news all around." When Leadbelly tried to give a clear statement about politics, his words became forced and superficial: "Hitler started out in nine-teen hundred and thirty two. / Hitler started out in nineteen hundred and thirty two. / When he started out / he took the home from the Jew." (from 'Hitler Song') From the plantation workers Leadbelly adopted hollers, which can be heard in several songs. He started to develop a free-wheeling recitative technique when he performed at universities and introduced students to what blues was about. Leadbelly updated the song that had softened Pat Neff, and in 1934 Governor O.K. Allen let him out of prison. Leadbelly worked for Lomax as a chauffeur, assistant and guide. They toured a circuit of college towns and Leadbelly started to become noticed by students. Through Lomax he soon befriended a young banjo player, Peter Seeger, the son of a famous musicologist, who had just begun performing for small audiences. Seeger tried to hide his Harvard upbringing, dressed in jeans, but noted that Leadbelly had always a clean white shirt, starched collar, well-pressed suit, and shined shoes. "Perhaps this modern age is not liable to produce such a combination of genuine folk artist and virtuoso. Because nowadays when the artist becomes a virtuoso, there is normally a much greater tendency to cease being folk. But when Leadbelly rearranged a folk melody he had come across - he often did, for he had a wonderful ear for melody and rhythm - he did it in line with his own great folk traditions." (Seeger in The Leadbelly Songbook, 1962) (Congress Libary)

Ledbelly

És most jöjjön az az ember, aki a blues atyja, egy legendás hobó, börtöntöltelék, rabló, mellesleg a styl effektet a monda szerint egy kocsmai verekedés után törött sörös üveg nyakával slidolva találta ki atomilag részegen. Ő az, aki énekel a gyapot földekről (Cotton Field) a híres versenylóról (Stewball), Jó éjt kívánt Irénnek, (Goodnight Irene), énekelt mindent, csak blues, csak ő legyen. Ezt fedezte fel John Lomax, s minden kapcsolatát latba vetve háromszor hozta ki a sittről a 2 méters blues óriást. S ezek csak morzsák. Kettejük kapcsolata apa és a rossz fiú állandó megtérésének sorozata. Hála Istennek mindíg új lemezekkel gazdagítva a hatalmas életművet. Woody mellett Ő volt az aki a legnyersebb és archaikusabb zenét játszotta, hisz akik között élt, nem volt szokás az úri modor. Hamarabb repült a pofon, bicska, asztal. Egyszer Lomax életét is megmentette Belly. Hallgassuk!!

BANJO THUMB PICK (copyright by Andras Szekeres 1990)

The Roving Gambler

Jim & Jesse - 1976 - Ole Slew Foot.avi

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Még két szám erről a területről neves bluegrass előadókkal, utána belekóstolunk, mennyire hatott a rhytm and bluesra ennek a környéknek a levegője, no meg a két "turbó zenegyújtő" John és Alan Lomax munkássága és támogatása. Így megismerhetjük Ledbellyt, Sonny Terryt, McCanziet, stb, hogy csak a legnagyobbakat említsem.

Mary Travers (1936-2009) RIP - Peter, Paul & Mary - Where Have All The Flowers Gone

Ennyivel tartozom még annak az embernek, akiktől előszőr hallottam 15 évesen Bob Dylan, Pete Seeger számokat!

Nyugodjon békében, s örökké szívünkben Mary Travers (1937-2009)!!!

Peter Paul and Mary (In memorian Mary Travers)

Évekig ezzek a dallal, annak otromba magyarításával kábította, egyik "kiváló úttörő bluegrass gyerek-zenész együttesünk, a 100 fokon égő" a tájékozatlan tömeget.

Nos az igazi, az eredeti

Peter Paul and Mary (szeptember 17 től már csak a múlt)

Kedves Bloggerek!

Némi testi-lelki bajok után tallózunk ismét a már "meghódított terület legendás dalai közt legendás előadókkal. Peter Paul and Mary és a San Francisco blues, ami Ledbelly, a híres blues fenomén-akiről még lesz szó bőven- után az ő és Pete Seeger előadásában lett klasszikus.

Tisztelegjünk ezzel a felvétellel Mary Travers-nek, aki a trió női tagja volt, s szeptember 17-én 72 évesen leukémiában hunyt. A világom már csak ilyen.

Goodnight Ireene !!!

Peter, Paul and Mary are folk singers." So stated the liner notes to the group's self-titled 1962 debut album. Today, this declaration seems redundant, because the term "folk music" has come to be virtually interchangeable with the group name, but when the words were written, they were meant less as a stylistic distinction than as a mission statement.

In the decades prior to the '60s, through the work of such avatars as Woody Guthrie, the Weavers and Pete Seeger, folk music had become identified with sociopolitical commentary, but the idiom had been forced underground in the Senator Joe McCarthy witch-hunting era of the late '50s. By the time Peter, Paul and Mary arrived on the scene, for the majority of America, folk was viewed merely as a side-bar to pop music which employed acoustic instruments. At this critical historic juncture, with the nation still recovering from the McCarthy era, the Civil Rights Movement taking shape, the Cold War heating up and a nascent spirit of activism in the air, Peter Yarrow, Noel (Paul) Stookey and Mary Travers came together to juxtapose these cross currents and thus to reclaim folk's potency as a social, cultural and political force. But few at the time could have realized how fervently and pervasively the group's message of humanity, hope and activism would be embraced.

Having their music associated with causes and solutions is as natural as breathing for Peter, Paul and Mary. The music they purvey and the action it generates are equally important to them and lie at the heart of their story. Most recently, their individual and collective efforts have focused on such crucial issues as gun violence against children, the rights and organizing efforts of strawberry pickers in California, homelessness and world hunger. "We've always been involved with issues that deal with the fundamental human rights of people, whether that means the right to political freedom or the right to breathe air that's clean," Travers points out.

No American folk group has lasted longer or amassed a more loyal following than Peter, Paul and Mary; indeed, few groups of any genre have logged more years (45) or miles (countless) in direct, yearly touring; spreading the message and engaging the next (now four) generations. During its now legendary career, the trio won five Grammy's, produced 13 Top 40 hits, of which 6 ascended into the Top 10 - as well as eight gold and five platinum albums. That PP&M achieved such a rarefied level of commercial success without compromise, and while continuing a centuries-old tradition of people raising their voices in song for the sake of freedom, is simply further evidence of their extraordinarily successful career-as much a mission accomplished as a musical career.

In 2006, Peter, Paul and Mary received the latest in a long line of honors bestowed on the group: The Songwriters Hall Of Fame's Lifetime Achievement Award (also known as the Sammy Cahn Award). It's well-earned recognition that the group has mastered the art of topical songs-which can be overly directive, one-sided and preachy in less-seasoned hands. "The songs we sing invite the participation of the listener, who is central to finding a way of creating the life of the song at that listening," Yarrow explains. "It's the difference between poetry and didactic writing. One tells you, 'This is it,' and the other says, 'Let's find this together.'" Adds Stookey, "Whether it's your own material or somebody else's material, it's essential that you identify with it thoroughly. It's like you want to archive it; you want to freeze it in time in terms of your perspective on it, then move on, because folk music is that volatile and comments not only on overall human concerns but also on the specifics."

Yarrow, Stookey and Travers have spent their years together communicating personal, political and social imperatives by way of their impeccably chosen songs, personally crafted harmonies and unmitigated passion. Remarkably, more than four and a half decades after their formation, they're still singer/advocates. Their spirits and sense of purpose are undiminished and their message, if anything, is more relevant than ever before, particularly as America and the world approach what Travers characterizes as "a critical turning point in time."

Through the years, that message has been expressed through traditional ballads like "The Three Ravens" and "Take Off Your Old Coat," the work of such latter-day poets as Woody Guthrie, Pete Seeger, Bob Dylan, Laura Nyro, Gordon Lightfoot, Tom Paxton, Phil Ochs and John Denver, and in songs penned by the group itself. It's a canon of classics-indelible, important songs like "Blowin' in the Wind," "If I Had a Hammer," "Cruel War," "Leaving on a Jet Plane," "Where Have All the Flowers Gone," "500 Miles," "Lemon Tree," "In the Early Morning Rain," "All My Trials," and "Puff (The Magic Dragon)," among others.

Released in March, 2004, Rhino's Carry It On boxed set features four CDs filled with such memorable musical moments from 1960 to 2003, including previously unreleased solo recordings by each member made prior to the group's formation. The package also contains a bonus DVD with performance footage of some of the trio's most iconic songs, including a live version of "If I Had a Hammer" from the 1963 Civil Rights March on Washington, where Dr. Martin Luther King Jr. delivered his famous "I Have a Dream" speech. Among the many luminaries offering testimonials in the Carry It On liner notes is the late Coretta Scott King, who proclaimed, "Peter, Paul and Mary are not only three of the greatest folk artists ever, but also three of the performing arts' most outstanding champions of social justice and peace. They have lent their time and talents to the Civil Rights Movement, labor struggles, and countless campaigns for human rights for decades, and their compassion and commitment remain as strong as their extraordinary artistry."

Carry It On was released simultaneously with In These Times, the group's first all-new studio recording in more than a decade. The LP features no solo turns, only group vocals-an approach PP&M haven't employed since their first four albums; their singular harmonies displaying unity in the face of a particularly fractious, and in their opinion, dangerous, era. "With In These Times, we wanted to make a contemporary statement," says Stookey. "Folk music has the capacity to not only be aware of the continuum, but also to offer thoughts that are perspectives on the immediacy of human concern."

Both timely and timeless, In These Times (co-produced by Yarrow and Stookey) spotlights selections penned by new or newly discovered writers including Tim Bays, Dave Allen, Anne Feeney, Gene Nelson and Bill Staines, offering wider exposure to fresh talent - long a PP&M tradition. In the past Peter, Paul and Mary put together new material for every summer tour, so the album actually collects several years worth of new material. Much of it is drawn from the Kerrville Folk Festival in Texas, an annual event whose New Folk Concerts are arguably the most important platform for the discovery and acknowledgment of new singer/songwriters in America.

In 2004 Carry It On, the boxed set, and an accompanying PBS TV special focused plenty of attention on the music of Peter, Paul and Mary, but the following year observers were more preoccupied with Mary Travers' health; she underwent a successful bone marrow transplant in April of 2005 for leukemia. That December, Travers joined Peter and Noel (Paul) on stage for the first time in a year to perform their renowned and much loved Holiday Celebration benefit concert at Carnegie Hall. "The emotionality of the response, and the love of the audience for Mary, showered the stage," observed Peter. Today the three singers stand strong in their musical mission, and are eager to carry it on to new audiences.

JACKSON (by June Carter and Johny Cash)

Johnny Cash, born J. R. Cash, (February 26, 1932 – September 12, 2003) was a Grammy Award-winning American country singer. Cash is widely considered to be one of the most influential American musicians of the 20th century. Néhány konkrétumot a nagy legendáról.

Much of Cash’s music, especially that of his later career, echoed themes of sorrow, moral tribulation, and redemption. His signature songs include “I Walk the Line”, “Folsom Prison Blues”, “Ring of Fire”, “That Old Wheel” (a duet with Hank Williams Jr.), “Cocaine Blues”, and “Man in Black”. He also recorded several humorous songs, such as “One Piece at a Time”, “The One on the Right Is on the Left”, “Dirty Old Egg-Sucking Dog” and “A Boy Named Sue”; rock-and-roll numbers such as “Get Rhythm”; and various railroad songs, such as “Rock Island Line” and “Orange Blossom Special”.

In 1954, the couple moved to Memphis, Tennessee, where he sold appliances, while studying to be a radio announcer. At night, he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract. After auditioning for Sam Phillips, singing mostly gospel songs, Phillips told him to “go home and sin, then come back with a song I can sell.” Cash eventually won over Phillips with new songs delivered in his early frenetic style. His first recordings at Sun, “Hey Porter” and “Cry Cry Cry,” were released in 1955 and met with reasonable success on the country hit parade.

Cash’s next record, Folsom Prison Blues, made the country Top 5, and “I Walk the Line” became No. 1 on the country charts, also making it into the pop charts Top 20. Following “I Walk the Line” was Johnny Cash’s “Home of the Blues,” recorded in July 1957. In 1957, Cash became the first Sun artist to release a long-playing album. Although he was Sun’s most consistently best-selling and prolific artist at that time, Cash felt constrained by his contract with the small label. Elvis Presley had already left Sun, and Phillips was focusing most of his attention and promotion on Jerry Lee Lewis. The following year, Cash left the label to sign a lucrative offer with Columbia Records, where his single “Don’t Take Your Guns to Town” would become one of his biggest hits.

In the early 60s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle’s daughters, Anita, June and Helen. June later recalled admiring Johnny from afar, during these tours.

Johnny Cash and his second wife, JuneCash was also arrested on May 11, 1965, in Starkville, Mississippi, for trespassing late at night onto private property to pick flowers. (This incident gave the spark for the song “Starkville City Jail”, which he spoke about on his live At San Quentin prison album.)

The mid 1960s saw Cash release a number of concept albums, including Ballads Of The True West (1965), an experimental double record mixing authentic frontier songs with Cash’s spoken narration, and Bitter Tears (1964), with songs highlighting the plight of the Native Americans. His drug addiction was at its worst at this point, however, and his destructive behavior led to a divorce from his first wife and cancelled performances.

In 1967, Cash’s duet with Carter, “Jackson”, won a Grammy Award.

Cash had met with Dylan in the mid 1960s and became closer friends when they were neighbors in the late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. Cash sang a duet with Dylan on Dylan’s country album Nashville Skyline and also wrote the album’s Grammy-winning liner notes.

Highwaymen

From left to right Kris Kristofferson, Johnny Cash, Waylon Jennings, Willie Nelson, who formed the country music supergroup, The HighwaymenIn 1980, Cash became the Country Music Hall of Fame’s youngest living inductee at age forty-eight, but during the 1980s his records failed to make a major impact on the country charts, although he continued to tour successfully. In the mid 1980s, he recorded and toured with Waylon Jennings, Willie Nelson, and Kris Kristofferson as The Highwaymen, making two hit albums

In 1986, Cash published his only novel, Man in White, a book about Saul and his conversion to become the Apostle Paul. He also recorded Johnny Cash Reads The Complete New Testament in 1990.

Elnézést a két nyelvűségért, de van, hogy fizikailag képtelen vagyok a fáradtságtól következetesen két nyelvűvé tenni a blogot, hol magyarul, hol angolul jönnek az ismeretek a klaviatúrámra. De ezek olvasóimnak nem hiszem, hogy gondot jelentenének. Köszönöm a megértést! Viszonzásként a bizonyos helyen reklámozott lapon egy abszurd, Mrozek tolla alá való hazai, friss történettet kedveskedem. Érdemes elolvasni.

Railroad Bill

I don't know much about it except that it was a favourite in both the black and white traditions. The Traditional Ballad Index gives its earliest date (printed or recorded) as 1927. The writer of the note for the Ballad Index rejects as 'unproven' the theory that it related to a notorious badman by the name of Morris Slater (also known as Railroad Bill) who terrorised Florida and Alabama in the 1890s. However, Stephen Calt, in his notes to 'The Late Bill Williams: Blues, Rags and Ballads' Blue Goose 2013, had no hesitation in saying that it was 'a salute to a once-notorious Alabama train robber and one of the most famous pieces in black folk tradition'. Bill Williams' recording of the song is splendid - he was first discovered and recorded in 1970 in Kentucky when he was in his 70s!In 'American Ballads and Folk Songs' the Lomaxes give a text and tune of the song from the black tradition. They assert that Railroad Bill was a completely legendary character. They point out that it is interesting that, in the song, he is captured by another black after eluding white law officers. The song has verses like:

Railroad Bill mighty bad man
Shoot dem light out o' de brakeman's han'
It's dat bad Railroad Bill

The entry in the DT refers to versions by white singers such as Cisco Houston and Ramblin' Jack Elliott. The earliest recording by a white artist was that by the great bluesman from West Virginia, Frank Hutchison. Frank recorded his version at his last recording session in 1929. It has been reissued on CD 'Old-Time Music from West Virginia' Document DOCD 8004.

Hallgassátok szeretettel az egyik leghíresebb Old Time balladát, természetesen az államok egy "Rózsa Sándoráról" , akinek elég sok vaj volt a fején, hogy úgy végezze, ahogy. Joan Baez előadásában a szöveg is érthető.

HISTORY of "Amazing Grace"

John Newton, the author of the lyrics to Amazing Grace, was born in 1725 in Wapping, London, England. Despite the powerful message of "Amazing Grace," Newton's religious beliefs initially lacked conviction; his youth was marked by religious confusion and a lack of moral self-control and discipline.

John Newton

After a brief time in the Royal Navy, Newton began his career in slave trading. The turning point in Newton's spiritual life was a violent storm that occurred one night while at sea. Moments after he left the deck, the crewman who had taken his place was swept overboard. Although he manned the vessel for the remainder of the tempest, he later commented that, throughout the tumult, he realized his helplessness and concluded that only the grace of God could save him. Prodded by what he had read in Thomas à Kempis' Imitation of Christ, Newton took the first step toward accepting faith.

These incidents and his 1750 marriage to Mary Catlett changed Newton significantly. On his slave voyages, he encouraged the sailors under his charge to pray. He also began to ensure that every member of his crew treated their human cargo with gentleness and concern. Nevertheless, it would be another 40 years until Newton openly challenged the trafficking of slaves.

Some three years after his marriage, Newton suffered a stroke that prevented him from returning to sea; in time, he interpreted this as another step in his spiritual voyage. He assumed a post in the Customs Officein the port of Liverpool and began to explore Christianity more fully. As Newton attempted to experience all the various expressions of Christianity, it became clear that he was being called to the ministry. Since Newton lacked a university degree, he could not be ordained through normal channels. However, the landlord of the parish at Olney was so impressed with the letters Newton had written about his conversion that he offered the church to Newton; he was ordained in June 1764.

In Olney, the new curate met the poet William Cowper, also a newly-converted Christian. Their friendship led to a spiritual collaboration that completed the inspiration for "Amazing Grace," the poem Newton most likely wrote in Kineton, Warwickshire around Christmas 1772. The lyrics are based on his reflections on an Old Testament text he was preparing to preach on, adding his perspective about his own conversion while on his slave ship, the Greyhound, in 1748.

Newton's lyrics have become a favourite for Christians, largely because the hymn vividly and briefly sums up the doctrine of divine grace. The lyrics are based on 1 Chronicles 17:16-17, a prayer of King David in which he marvels at God's choosing him and his house. Newton apparently wrote this for use in a sermon he preached on this passage on New Year's Day 1773, and for which he left his sermon notes, which correspond to the flow of the lyrics. (He entitled the piece "Faith's review and expectation.")

The song has also become known as a favorite with supporters of freedom and human rights, both Christian and non-Christian, in part because many assume it to be Newton's testimony about his slave trading past.

The hymn was quite popular on both sides in the American Civil War.

JESSE JAMES

Vance Randolph collected this song in Arkansas in 1920 from a man who reportedly learned it from his father-in-law, "who had often entertained the James and Younger boys in his cabin."

Jesse James, living in St. Joseph, Missouri under his pseudonym "Thomas Howard" was shot by Robert Ford on April 4, 1882. Robert Ford was a member of Jesse's gang whom Jesse regarded as a friend. Ford shot Jesse in the back while Jesse was hanging a picture. According to Randolph the song became popular throughout the Midwest almost immediately after Jesse's death. Ford himself was shot in 1892 by another member of Jesse's gang.

NOS, Talán evezzünk "hazai" vizekre, s nézzük és halgassuk újra tovább az Old Time Balladák legendáit, legendáktól. Térjünk vissza a blog alapmotívumaihoz, az amerikai népzenéhez és a fraktálokhoz.

In Memorian Cseh Tamas! 2009=mc2.

Tudod Tamás, rengeteget törtem a fejem, mi az ami két nagyon erősen kötődő, de teljesen más zenei világban működő embernél egy halálba csapódás élményét feloldhatja, ha egyáltalán kell mit feloldani, s megint a jó öreg Petenél kötöttem ki, akit Te is szerettél, hisz azért angol tanár is voltál. Halgassunk hát utoljára. Szívemben örökké elefáncsontot árulsz, míg én anyámmal meglessük a kenyérsütésed, még ha Dénessel, vagy Gézával csinálod is.

Isten Veled Örökre.

És aki megkérdi Tőlünk, miért írunk a haláról?

Annak csak az tudom mondani, hogy a részünk.

S ha eltemette apját, anyját, feleségét, gyereke nem lehet, s vigyorogva tőled ezt kérdezi, hát mondjuk mi Néki.

PRÓBÁLJA KI!!!!

Mindazoknak, akik e névről, s haláláról sem tudnak.

Tamás és én (1992), 2009.

" Andrisom ebben az országban maradni és megdögölni szabad"

(Csehszlovák Tamás a kálvin-téri bárunkban) Ég veled, megyek én is. Andris. (Barát, barát...)

A temetésed elintézve , nyugodj az örökös hanvakon, búzös domoldalon. Sok barátod lesz majd, mindenki, ki ellenséged volt tegnap,tegnap.

De nem lesz csúfos ebéd, Tyutyuval kerülütünk eléd.

Szekeres András (toki)

Prága, a szeretett kocsma

"Adriska"

Augusztus 7-én, hatvanhat évesen elhunyt Cseh Tamás zenész, énekes, dalszerző és író.

Isten nyugosztaljon "KÖLYÖK ZSENI"

kedves barátom, Tamás

A blogger is ember folytatása

SZEKERES ANDRAS WITH MBB "WORRIED MAN BLUES"

A jól ismert népdal, a előadásunkban 1985-ben

A blogger banjon játszik

DULING BANJO-CLAWHAMMER BANJO

Ez is az "OLD TIME" varázsa. Egy könnyebb hangszerelés a bal kézen, nehezebb a jobb kézen. Aki játsza, tudja, milyen irrdatlan gyakorlást követel, és a "Duling Banjo" meg különösen. Hallkassátok sok szeretettel az újabb legendáig, "Jesse James"-ig.

Doc Watson- Shady Growe

Egy pioneer időszakból származó gyönyörűség. És elgondolkodás, az emberi akaraterő nagyságán Doc Watson, aki a Pete Seeger nemzedék nagyon híres, virtuóz gitáros tagja.

Doc Watson -New River Train

Folytatva Tennesseenél és az Old Time-nál, a szintén nagy legenda, a vak (9 évesen vakult meg) Doc Watson brilliáns előadásában egy klasszikus appalachi dal, a New River Train. S mivel Ő is hasonlón Carterékhez rengeteg traditionális dalt játszott, ezért a legsismertebbek sorát most az Ő előadásában folytatjuk.

DOC WATSON A VILÁGTALAN LEGENDA

Doc Watson--American Folk Music Legend

"Discovered" in the heat of the sixties folk revival, Doc Watson is a legendary performer who blends his traditional Appalachian folk music roots with blues, country, gospel, and bluegrass to create his unique style and expansive repertoire. Blind from infancy, Doc has spent his lifetime making music and is considered by fans everywhere one of the world's most accomplished flat-pickers.

Doc was born Arthel L. Watson in Deep Gap , NC (Watauga County) on March 23 , 1923 into a family with a rich musical tradition. His mother, Annie Watson, sung many traditional secular as well as religious songs, and his father, General Watson, played the banjo. Doc's early instrumental experience was with harmonica and a homemade banjo, but at age thirteen he taught himself the chords to "When the Roses Bloom in Dixieland" on a borrowed guitar. As the story goes, Doc's father was so pleased that Doc had been able to teach himself these chords in one day, that he helped Doc buy his own guitar the very next Saturday.

Armed with his new $12 Stella guitar, Doc began playing both traditional family tunes as well as new material he learned from records and the radio. For a time, Doc played mostly with musical neighbors and family, among them fiddler Gaither Carlton , who became his father-in-law when Doc married Rosa Lee Carlton in 1947. Gaither Carlton was a fine old time fiddler who shared with Doc many traditional tunes of the mountain region where he was raised.

Although Doc continued playing and singing with greater and greater skill, it wasn't until 1953 at age thirty that he met Jack Williams, a local swing band piano player, and began to play gigs for money. Doc played rocking western swing/rockabilly with Williams' band for seven years, during which time he switched to electric guitar. Because the band didn't have a fiddle player, Doc, at Williams' request, picked out tunes for square dance numbers on his electric guitar, thus developing what would become his trademark acoustic picking style.

During the years that he toured Tennessee and North Carolina with Williams' band, however, Doc continued to play traditional music with his family and with his banjo playing neighbor, Clarence "Tom" Ashley. In 1960, spurred by the growing folk revival, Ralph Rinzler and Eugene Earle came south to record Tom Ashley and heard Doc Watson's banjo picking in the process. Rinzler and Earle quickly decided to record the two together, and these sessions resulted in Old-Time Music at Clarence Ashley's.

Pete Seeger's 90th Birthday Celebration This Land is Your Land....

Happy Birthday Pete Seeger

Kedves blogolvasók!

90 éve született, 1919-ben Plaitonban , 2 testvérével együtt a bevándorló német zsidó zenetörténész család gyermekeiként kiváló zenészekké váltak. Pete Seeger, akire többször visszatértünk e blogon, s most próbálom röviden összeszedni hatalmas életművét, kiemelkedett azonban természetes népzenész ellenállásából fakadó liberális eszméivel, mindenek felett álló igazságérzetével. Ifjú korában végigutazta az Államokat, de már 1940-ben Woody Guthrival és Ledbellyvel közösen egy sajátos verses üzenetet küldött magának Hitlernek. Marlene Ditrichnek megírta a legendás "Hová tünt a sok virág" c. dalát.

1947-ben The Weavers néven alakított együttest, nagy slágerük volt 1949-ben egy Leadbelly szám, a Goodnight, Irene. Ez a szám a folk music revival egyik első megnyilvánulása. A dal Gussi L. Davis 1886-os népszerű dalán alapul. Leadbelly-t a nagybátyjától tanulta, 1950-ben juttatta a Weavers a folklisták élére, és ott is tartotta 13 héten keresztül. A folk zene egyik legfontosabb képviselője, fénykorában a tiltakozó (protest music) zene úttörője.

Pete Seeger balra, Eleanor Roosevelt középen. (1944)

„Osztott tenor" hangjával alapítótagja lett Woody Guthrie-val az Almanac Singers folk énekegyüttesnek és Lee Hays-szel, Ronnie Gilberttel és Fred Hellermannal a Weavers-nek. A zenekar legnagyobb sikereit az1950-es évek elején aratta. 1955augusztusában Pete-et azAmerikaellenes Tevékenységet Vizsgáló Bizottság elé idézték kommunista nézetek miatt, ahol megtagadta személyes és politikai kapcsolatai megnevezését azt állítva, hogy ez megsértené a híres Első Kiegészítésben foglalt jogait. Ez a visszautasítás 1957-ben ahhoz vezetett, hogy vád alá helyezték a Kongresszus semmibevétele miatt, néhány évig ez azt jelentette, hogy jelentenie kellett a szövetségi kormányzatnak, ha el akarta hagyni New York déli körzetét. 1961 márciusában bírósági tárgyaláson egy év börtönre ítélték, de 1962 májusában fellebbezett és eltörölték az ítéletet.

1958-ban szólókarrierbe kezdett. Seeger nagy hatással volt az 1960-as évek a Greenwich Village-ben összpontosuló folk-újjászületésre. Ott volt a Broadside Magazine folkfanzine és a Sing Out! Nonprofit folkhíradó megalapításánál. Szorosan együttműködött Moses Asch-sel és a Folway Records-szal, az Anthology of American Folk Music kiadójával, ami nagyban hozzájárult a folk mainsream zenei vonulattá válásához.

A hatvanas évek közepén a regionális Rainbow Quest folkzenei televízió házigazdájaként rengeteg tradicionális amerikai zenész felfuttatásában tevékenyen részt vett. Olyan vendégei voltak, mintJohnny Cash, a legendás folk rock'n'roller, felesége, June Carter, a Carter country családból, Mississippi John Hurt, a nagyhatású néger blues szerző, gitáros-előadó, Roscoe Holcomb, az autentikus kentuckyi bendzsóművész, a Stanley Brothers, virginiai bluegrass duó, Doc Watson, a fehérbőrű bluegrassman és még sokan mások.

Talán ma a legismertebb dalai: a Where Have All the Flowers Gone (Joe Hickerson-nal), az If I Had a Hammer (Lee Hays-szel), Turn! Turn! Turn! (To Everything There Is a Season) a szöveg a Prédikátor könyve (Préd 3.), Guantanamera (Jose Marty), a Bells of Rhymney és a We Shall Overcome, amely egy gospelen alapul. Rengeteg feldolgozása készült ezeknek a daloknak megjelenésük óta.

Család

Pete Seeger

A Seeger családban zubogott a zenei és művészi véna. Apja, Charles Seeger nagyműveltségű zenetudós, mostohaanyja, Ruth Crawford Seeger az egyik legjelentősebb 20. századi zeneszerzőnő, féltestvérei Mike és Peggy Seeger szintén figyelemre méltó zenei pályát futottak be. Mike alapítója volt a New Lost City Ramblers-nek, Bob Dylan egyik fő inspirátorának. Nagybátyja, Alan Seeger ismert költő az első világháborúban esett el 28 évesen. Pete 1936-ban, 17 éves korában hallott először öthúros bendzsót a Folk Song and Dance Festival-on Asheville-ben (North Carolina) és ez mondhatni megváltoztatta az életét. Connecticutban beiratkozott a híres Avon Old Farms bentlakásos iskolába, aztán a Harvardra ment, ahonnét másodévesként távozott. Miután otthagyta a Harvardot, ahol újságírást tanult, Washington DC-ben a Kongresszusi Könyvtárban az Amerikai Népzenei Archívumnál vállalt munkát. 1943-ban feleségül vette Toshi-Aline Ohtát, akitől megtanulta, hogy az élet igazi értelme az, ha másokon segíthetünk. Három gyermekük született. Hat unokája közül Tao Rodriguez-Seeger szintén folkzenész lett, a The Mammals nevű formációban játszik gitáron, bendzsón és harmonikán.

1948-ban megírta első változatát mára klasszikussá vált könyvének, a Hogyan játszunk öthúros bendzsón címűnek. Egy új hangszer is fűződik a nevéhez, a hosszúnyakú vagy Seeger bendzsó. Gyakran játszik 12-húros gitáron és ukulelén.

A mai napig fellép közönsége előtt. Évek óta megjelenik a National Storytelling Festival-onJonesborough-ban (Tennessee), hogy történeteket meséljen, manapság leginkább gyerektörténeteket, mint az Abiyoyo. Fellépett 2006-ban a MerleFesten, ami a roots-music fontos eseménye, Wilkesboróban, Észak-Karolinában. 2007. május 16.-án Peggy húgával és Mike öccsével, Toshival és családja számos tagjával együtt koncertezett a Library of Congress Washington DC-ben. 2008-ban Kanadában több alkalommal lépett fel, a Carnegie Hall-ban zenélt, új cd-t készített és a David Letterman tv-show műsorában is szerepelt. 2009. január 31-én színpadra lépett az Ann Arbor Folk Festival-on. Barack Obama ünnepi székfoglaló koncertjénBruce Springsteennel és Tao Rodriguez-szel énekeltette meg a közönségét január 18-ánWashington-ban.2009. április 18.-án az Earth Day Festival-on szerepel.

Seeger 90. születésnapját 2009. május 3-án koncerttel köszöntik a Madison Square Garden-ben.

Seeger 90. születésnapját 2009. május 3-án koncerttel köszöntötték a Madison Square Garden-ben. AMERIKA IKONJA igazi nemzeti ünnepet varázsolt a 18 000 ember elé.

Egy hét múlva kezemben lesz barátai első DVD-e, s erről minőségi felvételek is lesznek, addig néhány barátaim által készített félamatőr clip. Igazi nagy esemény volt, amit egy században egyszer látunk. Én annak idején már mondtam a blogon, Happy Birthday Pete Seeger!!!