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      "description" => "<p><h3>BOB LENOX</h3></p><br><br><p>“Bob Lenox presents a rare synthesis of ‘Vanguard’ blues-folk music passed down from the seventies with a contemporary mystical aspect after an extended break which led him to Berlin, where he lives today. A dissenting child in the United-States and an artist in the bubbling post-war ambience of New York, at an early age Bob Lenox was greatly esteemed by the biggest names in music, such as Tina and Ike Turner, Joe Cocker, Charles Mingus and Jimi Hendrix in the late sixties. The accursed poet couldn’t escape from the dire fate of dissenting artists of the period, and went into a long exile in the late seventies. Elias Bellouti and Tony Baillargeat met Bob Lenox in Berlin in 2004 and persuaded him to record this album in which the artist goes to the source of his creativity and soul in order to offer twelve tracks of rare potency, placing Bob Lenox in the front line of America’s best blues and folk musicians:  pioneers such as Jimmie Rodgers, Gene Autry and Hank Williams, and the latest idols – Bob Dylan and Johnny Cash – in a style which reminds us of Calvin Russell and even Tom Waits.”  Patrick Frémeaux & Benjamin Goldenstein</p><br><br><p></p>"
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      "dwf_livret" => "<h3>Bob Lenox Season of Souls</h3><p><span class=Texte><p align=justify><p><span class=Soustitre>Bob Lenox <br />Season of Souls</span></p><br /><p><span class=Soustitre>BOB LENOX</span></p><p><span class=Texte>Bob Lenox, am&eacute;ricain de souche irlandaise est n&eacute; &agrave; New York en 1944. Il a treize ans quand d&eacute;bute sa carri&egrave;re professionnelle avec son groupe &laquo; Kiwi and the Dynamics &raquo; (1957). Il attire rapidement l&rsquo;attention de &laquo; Capitol Records &raquo; pour qui il enregistre son premier 33 tours. Musicien de g&eacute;nie et compositeur pr&eacute;coce, il devient un pianiste de renom, connu pour son style individuel au phras&eacute; &laquo; jazz &raquo;, un musicien avec lequel il faut absolument travailler. Etendant son style au folk et au rock, il rejoint ensuite &laquo; Vanguard Records &raquo; et&nbsp; collabore alors avec de prestigieux artistes tels que Ike et Tina Turner, Joe Cocker, Esther Philips, Garland Jefferies, Charli Persip, Charles Mingus, Scott Faggan, Mort Shuman, ou encore Jimi Hendrix qui demandera &agrave; Bob, la permission de jouer avec lui plusieurs soirs de suite &agrave; &laquo; l&rsquo; Electric Circus &raquo; de New York. Cette &eacute;poque le voit &eacute;galement participer &agrave; de grands shows t&eacute;l&eacute;vis&eacute;s comme &laquo; Saturday Night Live &raquo;, &laquo; Good Morning America &raquo; ou encore &laquo; Don Kirschner&rsquo;s Rock Concert &raquo;. Engag&eacute; par la c&eacute;l&egrave;bre Warner Brothers Company, il encha&icirc;ne de mani&egrave;re fr&eacute;n&eacute;tique les concerts dans les clubs les plus connus des Etats-Unis jusqu&rsquo;&agrave; ce que l&rsquo;alcool et la drogue aient raison de sa sant&eacute;. En effet, la fin des ann&eacute;es 70 voit sombrer Bob Lenox dans un ab&icirc;me sans fond qui le fait d&eacute;serter la sc&egrave;ne musicale am&eacute;ricaine au profit des chambres sordides dans lesquelles il s&rsquo;enferme des ann&eacute;es durant pour fouiller dans ce qu&rsquo;il appelle lui-m&ecirc;me : &laquo; La faille abyssale de l&rsquo;&ecirc;tre humain : la solitude &raquo;. C&rsquo;est &agrave; Berlin que le chemin chaotique emprunt&eacute; par Bob Lenox, croise celui de Tony Baillargeat et d&rsquo;Elias Bellouti venus dans la capitale allemande pour les besoins d&rsquo;un film de fiction&nbsp; qu&rsquo;ils ne tourneront jamais et qui devait s&rsquo;intituler &laquo; La saison des &acirc;mes &raquo;&hellip; Impressionn&eacute;s par le charisme et le talent intact du chanteur, ils d&eacute;cident alors de mettre le peu d&rsquo;argent du film qu&rsquo;ils avaient r&eacute;unis dans la production d&rsquo;un album qui devra porter le m&ecirc;me titre. Huit mois plus tard, &laquo; Season of Souls &raquo; est n&eacute;. Il contient dix titres dont le lyrisme n&rsquo;a d&rsquo;&eacute;gale que la puissance de la nature sur le rythme des saisons. C&rsquo;est un album &laquo; &eacute;cologique &raquo; dans le sens o&ugrave; il adopte le temps &eacute;ternel et int&eacute;rieur d&rsquo;un homme &agrave; la voix exceptionnelle qui a tout vu et tout v&eacute;cu sans tricher et qui l&rsquo;exprime sans mentir. C&rsquo;est un album pur et &eacute;pur&eacute; de tout sentimentalisme, dans le sens ext&eacute;rieur et acad&eacute;mique du terme. Comme l&rsquo;a &eacute;crit Nick Tosches sur la musique du myst&eacute;rieux Emmett Miller, celle de Bob Lenox fait chavirer l&rsquo;esprit de ceux qui l&rsquo;&eacute;coutent car ce n&rsquo;est &laquo; ni du country, ni du blues, ni du jazz&hellip; elle n&rsquo;est ni noire, ni blanche, elle est une alchimie de tout cela&hellip; &raquo; Cet album au style raffin&eacute; est l&rsquo;amalgame de toutes ces sources inconnues qui ont cr&eacute;&eacute; la musique am&eacute;ricaine telle qu&rsquo;on la con&ccedil;oit aujourd&rsquo;hui. Il rend hommage aux pionniers que sont Jimmie Rodgers, Gene Autry ou encore Furry Lewis ; il salue en chemin Hank Williams et Ernest Tubb, se permettant m&ecirc;me d&rsquo;adresser un clin d&rsquo;oeil affectueux vers Bob Dylan et Johnny Cash.<br />&nbsp;&copy; 2007 2008 KRecords - Groupe Fr&eacute;meaux Colombini SAS</span></p><br /><p><span class=Soustitre><em>english notes</em><br /><span class=Soustitre>BOB LENOX</span></span></p><p><span class=Texte>Bob Lenox, an American musician of Irish stock was born in New York in 1944.&nbsp; At the age of 13 he began his professional career with his group &ldquo;Kiwi and the Dynamics&rdquo; (1957) and quickly attracted the attention of Capitol Records which produced his first recording.&nbsp; A precocious composer and musical genius, he soon became a renowned pianist, famous for his individual style of phrased &ldquo;jazz&rdquo;.&nbsp;&nbsp;Extending his style to folk and rock&rsquo;n&rsquo;roll, he joined Vanguard Records where he collaborated with prestigious artists such as Ike and Tina Turner, Joe Cocker, Esther Philips, Garland Jefferies, Charli Persip, Charles Mingus, Scott Faggan, Mort Shuman, and Jimi Hendrix who jammed with Bob for several evenings in New York following the &ldquo;Electric Circus&rdquo;. This period also found him participating in great televised shows like &ldquo;Saturday Night Live&rdquo;, &ldquo;Good Morning America&rdquo; or &ldquo;Gift Kirschner&rsquo;s&nbsp; Rock Concert&rdquo;. Engaged by Warner Brothers, he hectically travelled from concert to concert in the best known clubs of the United States until alcohol and drugs overtook his health. The end of the Seventies saw Bob Lenox sinking into a bottomless abyss which prompted him to desert the American musical scene for the sordid rooms in which he locked himself up over the ensuing years with what he calls: &ldquo;the abyssal human fault: loneliness &ldquo;. It was in Berlin that the chaotic path borrowed by Bob Lenox crossed that of Tony Baillargeat and Elias Bellouti who had come there for the needs of a feature film which they would never shoot and which was to be entitled Season of Souls&rdquo;. Impressed by the charisma and intact talent of the singer, they decided to put the money for the film which they had mustered up to produce a record album with the same title. Eight month later, &ldquo;Season of Souls&rdquo; was born. It contains ten titles whose lyricism is only equalled by the power of nature on the rhythm of the seasons. It is an &ldquo;ecological&rdquo; album in the sense that it adopts the eternal and internal time of one man with an exceptional voice who saw and lived everything honestly and who expressed it without lies. As Nick Tosches wrote about the music of the mysterious Emmett Miller, that of Bob Lenox capsizes the spirit of those who listen to it because it is &ldquo;neither country, neither blues, neither jazz... it is neither black, nor white, it is an alchemy of all of these...&rdquo; This album with its refined style is an amalgam of all those unknown sources which created American music such as we conceive of it today. It pays homage to the pioneers Jimmie Rodgers, Gene Autry or Furry Lewis; it salutes Hank Williams and Ernest Tubb, and even addresses an affectionate wink towards Bob Dylan and Johnny Cash.<br />&nbsp;&copy; 2007 2008 KRecords - Groupe Fr&eacute;meaux Colombini SAS</span></p><br /><p align=center><br /><span class=Texte><strong>All lyrics are written for the feeling of the words&hellip;<br />Not the correctness&hellip;<br />Language as a sound&hellip;<br />Is not a test.<br />Feel free to change any words you wish&hellip;<br />If that makes you feel better&hellip;</strong><br /><em>Bob Lenox</em></span></p><br /><p><br /><span class=Soustitre>THERE IS NO RIGHT</span></p><p><span class=Texte><em>CHORUS<br />WELL THERE IS NO RIGHT<br />AND THERE IS NO WRONG<br />THERE&rsquo;S ONLY LIVIN&rsquo;<br />AND THEN WE&rsquo;RE GONE<br />WELL THERE IS NO RIGHT<br />AND THERE IS NO WRONG<br />THERE&rsquo;S ONLY LOVIN&rsquo; <br />AND THEN WE&rsquo;RE GONE</em></span></p><br /><p><span class=Texte><em>OLD JESUS FOUND HIS PEACE ON EARTH<br />ON MOUNT CALVERY<br />THEY NAILED HIS HANDS <br />AND THEY PIERCED HIS HEART<br />AND THEY FINALLY SET THE BOY FREE..</em></span></p><br /><p><span class=Texte><em>CHORUS&hellip;..</em></span></p><br /><p><span class=Texte><em>GONNA BUY A CAR IN THE DDR<br />AND DRIVE IT TO BERLIN<br />STRAIGHT THROUGH THE WALL<br />TO HELL WITH &lsquo;EM ALL<br />CAUSE YOU GOTTA GET OUT <br />TO GET IN</em></span></p><br /><p><span class=Texte><em>CHORUS&hellip;..</em></span></p><br /><p><span class=Texte><em>OH JESUS CAN YOU GIVE ME ANOTHER TASTE<br />I WANT TO HOLD YOU<br />BEFORE THEY LAY MY SOUL TO WASTE&hellip;</em></span></p><br /><p><span class=Soustitre>LIFE IS FINE</span></p><p><span class=Texte><em>I&rsquo;ve been trying to cope<br />With a bag full of dope<br />And a million women on my mind</em></span></p><br /><p><span class=Texte><em>With clouds in my eyes<br />And the changing of the life<br />I always thought, that love was blind</em></span></p><br /><p><span class=Texte><em>I remember the day,<br />The day you were born,<br />You came out ready to fight,<br />I sat down and cried,<br />Overwhelmed by the sight,<br />Of this beautiful love in your eyes,</em></span></p><br /><p><span class=Texte><em>Chorus<br />My life is fine,<br />With you in my mind,<br />When I go there,<br />I don&rsquo;t feel alone,<br />Life is divine,<br />With you in my mind,<br />But it&rsquo;s better,<br />When you&rsquo;re in my arms</em></span></p><br /><p><span class=Texte><em>You brought me to tears,<br />And then came the fears,<br />Of the life and all of its lies,<br />The sad part I know,<br />Is I have to go,<br />And leave you alone in your life&hellip;</em></span></p><br /><p><span class=Texte><em>Don&rsquo;t worry about me,<br />This life is fine,<br />You showed me just what to do,<br />When I&rsquo;m feelin&rsquo; down,<br />I&rsquo;ll just turn around,<br />And bring my heart back to you</em></span></p><br /><p><br /><span class=Soustitre>ANGELS ON MY SHOULDER</span></p><p><span class=Texte><em>Sometimes I can see<br />In the morning through my window<br />There&rsquo;s a world a scrambling<br />to be free<br />And when I disappear for <br />the change of my skin<br />I&rsquo;ll be found inside the mystery</em></span></p><br /><p><span class=Texte><em>And the angels on my shoulder<br />Take me on the road again<br />They&rsquo;re pushing me to go now<br />I must begin again<br />And the angels on my shoulder<br />Telling me about you<br />And I&rsquo;ll be there the very next <br />time I&rsquo;m thru</em></span></p><br /><p><span class=Texte><em>I&rsquo;ve only got a little time<br />To say the things I must<br />They&rsquo;re comin&rsquo; to take me away</em></span></p><br /><p><span class=Texte><em>For a crime I committed a long<br />long time ago&hellip;<br />I don&rsquo;t wanna care to spend<br />my life<br />Shadowed in lies so I go with<br />a smile by an&rsquo; by&hellip;.</em></span></p><br /><p><span class=Soustitre>SYSTER FLY</span></p><p><span class=Texte><em>Sisterin&rsquo; down the highway doing a hundred and nine<br />Sister fly&rsquo;s makin&rsquo; time<br />Trying to beat the police to the country line<br />A voidin&rsquo; legal action for her life of crime</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She&rsquo;ll relieve you of your story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />She&rsquo;ll make some money on you</em></span></p><br /><p><span class=Texte><em>Started out to hustle at the age of ten<br />Learned about the bible but she turned around to sin<br />Claimed that the devil done took her in<br />And the only peace of mind was in a bottle of gin</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She will tell you a sad story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />You can get down and get a piece of glory</em></span></p><br /><p><span class=Texte><em>Sets up her tent then invites you in<br />Plays a little game and you think you gonna win<br />Look for your wallet and you find it&rsquo;s gone<br />Tells you that&rsquo;s the breaks so move along<br />She&rsquo;ll get you into heaven, for a donation<br />Checkout the speech on reincanation<br />Give her a dollar if you wanna come back<br />But she&rsquo;s gonna use the money for a Cadillac</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She will tell you a sad story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />She relieve you of your money and she&rsquo;ll give you glory</em></span></p><br /><p><span class=Texte><em>Amen</em></span></p><br /><p><span class=Texte>I WANT TO THANK TONY AND ELIAS FOR THEIR NEVER ENDING SUPPORT. THE MUSICIANS IN THIS BAND ARE SOME OF THE BEST IN THE WORLD &hellip; ALL SOLO ARTISTs COMING TOGETHER FOR THIS PRODUCTION&hellip; ERIC FOR HIS SUPER GUITAR... MICHA EL FOR THE BEAT... STEFAN&rsquo;S BRILLANT BASSWORK..ANDREJ&rsquo;S VIOLIN PLAYING IS MAGIC.. MELISSA, MY DAUGHTER ... IS THE ANGEL &hellip; MARKO THE MAESTRO KNOWS THE RIGHT PLUGIN TO USE...&nbsp; THIS MUSIC IS MADE LIVE WITH A LOT OF LOVE, POETRY AND HOPE THAT SOME HOW IT HELPS SOMEONE SOMEWHERE&hellip;</span><span class=Texte>&nbsp; BOB LENOX&nbsp; (JANUARY 2006)</span></p><br /><p><span class=Texte><strong>Musicians</strong></span></p><p><span class=Texte>All guitars : Eric St-Laurent</span></p><p><span class=Texte>Bass : Stefan Weeke</span></p><p><span class=Texte>Drums : Michael Griener</span></p><p><span class=Texte>Cello : Akira Ando, Solveigh Hubner</span></p><p><span class=Texte>Violin : Andrej Sudnitsyn</span></p><p><span class=Texte>Voice and Guitar : Bob Lenox</span></p><p><span class=Texte>Featuring on &ldquo;Life is fine&rdquo; : Melissa Lenox</span></p><p><span class=Texte>All words and music by : Bob Lenox</span></p><p><br /><span class=Texte>PRODUCED BY Tony BAILLARGEAT and Elias&nbsp; BELLOUTI</span></p><p><span class=Texte>Recorded and mixed by Marko Birkner at Studio P1, BERLIN<br />Mastered at Translab Studios, PARIS<br />Arrangements by Eric St-Laurent</span></p><br /><p><span class=Texte>D&eacute;sign by Pierre Chatellier / Cover photography by Elias Bellouti and Susanne Schaefer-Doerrenberg / Interior photography by Tony Baillargeat, Elias Bellouti and Susanne Shaefer-Doerrenberg / </span><span class=Texte>Special Thanks to Susanne Doerrenberg, Andreas Flack, st&eacute;phane Moisset, Pierre Chatellier, Jessica and Thelma Aberg, Marlon Lenox, Salma Lahmer, Marwan Salim Camelia and Dalila Bellouti, Djibril, Phyllis Glaeser, H&eacute;liopolis Corporation. / </span><span class=Texte>All&nbsp; tracks&nbsp; published by&nbsp; Kriminelle&nbsp; Records&nbsp; Coproduced by: Kriminelle Records&nbsp;/ G&eacute;n&eacute;ral&nbsp; Director: Elias Bellouti Artistic Director: Samuel Bouriahi / Communication Director: St&eacute;phane Moisset Assistant Artistic Director: Pierre Chatellier</span></p><br /><p><span class=Texte><span class=Source>CD Bob Lenox Season of Souls &copy; Fr&eacute;meaux &amp; Associ&eacute;s. (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></span></p></p></span></p>"
      "dwf_titres" => array:12 [
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          "titre" => "That's Not Me"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:05:03"
          "annee" => "2006"
          "cd" => 1
        ]
        1 => array:6 [
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          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:03:46"
          "annee" => 2006
          "cd" => ""
        ]
        2 => array:6 [
          "titre" => "In The Middle Of My Dreams"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:03:32"
          "annee" => 2006
          "cd" => ""
        ]
        3 => array:6 [
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          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:03:34"
          "annee" => 2006
          "cd" => ""
        ]
        4 => array:6 [
          "titre" => "Angels On My Shoulder"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:03:56"
          "annee" => 2006
          "cd" => ""
        ]
        5 => array:6 [
          "titre" => "Sister Fly"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:02:13"
          "annee" => 2006
          "cd" => ""
        ]
        6 => array:6 [
          "titre" => "Dear Mama"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:04:01"
          "annee" => 2006
          "cd" => ""
        ]
        7 => array:6 [
          "titre" => "There is No Right"
          "interprete" => " Bob Lenox"
          "auteur" => " Bob Lenox"
          "duree" => "00:03:04"
          "annee" => 2006
          "cd" => ""
        ]
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          "value" => "<h3>Bob Lenox Season of Souls</h3><p><span class=Texte><p align=justify><p><span class=Soustitre>Bob Lenox <br />Season of Souls</span></p><br /><p><span class=Soustitre>BOB LENOX</span></p><p><span class=Texte>Bob Lenox, am&eacute;ricain de souche irlandaise est n&eacute; &agrave; New York en 1944. Il a treize ans quand d&eacute;bute sa carri&egrave;re professionnelle avec son groupe &laquo; Kiwi and the Dynamics &raquo; (1957). Il attire rapidement l&rsquo;attention de &laquo; Capitol Records &raquo; pour qui il enregistre son premier 33 tours. Musicien de g&eacute;nie et compositeur pr&eacute;coce, il devient un pianiste de renom, connu pour son style individuel au phras&eacute; &laquo; jazz &raquo;, un musicien avec lequel il faut absolument travailler. Etendant son style au folk et au rock, il rejoint ensuite &laquo; Vanguard Records &raquo; et&nbsp; collabore alors avec de prestigieux artistes tels que Ike et Tina Turner, Joe Cocker, Esther Philips, Garland Jefferies, Charli Persip, Charles Mingus, Scott Faggan, Mort Shuman, ou encore Jimi Hendrix qui demandera &agrave; Bob, la permission de jouer avec lui plusieurs soirs de suite &agrave; &laquo; l&rsquo; Electric Circus &raquo; de New York. Cette &eacute;poque le voit &eacute;galement participer &agrave; de grands shows t&eacute;l&eacute;vis&eacute;s comme &laquo; Saturday Night Live &raquo;, &laquo; Good Morning America &raquo; ou encore &laquo; Don Kirschner&rsquo;s Rock Concert &raquo;. Engag&eacute; par la c&eacute;l&egrave;bre Warner Brothers Company, il encha&icirc;ne de mani&egrave;re fr&eacute;n&eacute;tique les concerts dans les clubs les plus connus des Etats-Unis jusqu&rsquo;&agrave; ce que l&rsquo;alcool et la drogue aient raison de sa sant&eacute;. En effet, la fin des ann&eacute;es 70 voit sombrer Bob Lenox dans un ab&icirc;me sans fond qui le fait d&eacute;serter la sc&egrave;ne musicale am&eacute;ricaine au profit des chambres sordides dans lesquelles il s&rsquo;enferme des ann&eacute;es durant pour fouiller dans ce qu&rsquo;il appelle lui-m&ecirc;me : &laquo; La faille abyssale de l&rsquo;&ecirc;tre humain : la solitude &raquo;. C&rsquo;est &agrave; Berlin que le chemin chaotique emprunt&eacute; par Bob Lenox, croise celui de Tony Baillargeat et d&rsquo;Elias Bellouti venus dans la capitale allemande pour les besoins d&rsquo;un film de fiction&nbsp; qu&rsquo;ils ne tourneront jamais et qui devait s&rsquo;intituler &laquo; La saison des &acirc;mes &raquo;&hellip; Impressionn&eacute;s par le charisme et le talent intact du chanteur, ils d&eacute;cident alors de mettre le peu d&rsquo;argent du film qu&rsquo;ils avaient r&eacute;unis dans la production d&rsquo;un album qui devra porter le m&ecirc;me titre. Huit mois plus tard, &laquo; Season of Souls &raquo; est n&eacute;. Il contient dix titres dont le lyrisme n&rsquo;a d&rsquo;&eacute;gale que la puissance de la nature sur le rythme des saisons. C&rsquo;est un album &laquo; &eacute;cologique &raquo; dans le sens o&ugrave; il adopte le temps &eacute;ternel et int&eacute;rieur d&rsquo;un homme &agrave; la voix exceptionnelle qui a tout vu et tout v&eacute;cu sans tricher et qui l&rsquo;exprime sans mentir. C&rsquo;est un album pur et &eacute;pur&eacute; de tout sentimentalisme, dans le sens ext&eacute;rieur et acad&eacute;mique du terme. Comme l&rsquo;a &eacute;crit Nick Tosches sur la musique du myst&eacute;rieux Emmett Miller, celle de Bob Lenox fait chavirer l&rsquo;esprit de ceux qui l&rsquo;&eacute;coutent car ce n&rsquo;est &laquo; ni du country, ni du blues, ni du jazz&hellip; elle n&rsquo;est ni noire, ni blanche, elle est une alchimie de tout cela&hellip; &raquo; Cet album au style raffin&eacute; est l&rsquo;amalgame de toutes ces sources inconnues qui ont cr&eacute;&eacute; la musique am&eacute;ricaine telle qu&rsquo;on la con&ccedil;oit aujourd&rsquo;hui. Il rend hommage aux pionniers que sont Jimmie Rodgers, Gene Autry ou encore Furry Lewis ; il salue en chemin Hank Williams et Ernest Tubb, se permettant m&ecirc;me d&rsquo;adresser un clin d&rsquo;oeil affectueux vers Bob Dylan et Johnny Cash.<br />&nbsp;&copy; 2007 2008 KRecords - Groupe Fr&eacute;meaux Colombini SAS</span></p><br /><p><span class=Soustitre><em>english notes</em><br /><span class=Soustitre>BOB LENOX</span></span></p><p><span class=Texte>Bob Lenox, an American musician of Irish stock was born in New York in 1944.&nbsp; At the age of 13 he began his professional career with his group &ldquo;Kiwi and the Dynamics&rdquo; (1957) and quickly attracted the attention of Capitol Records which produced his first recording.&nbsp; A precocious composer and musical genius, he soon became a renowned pianist, famous for his individual style of phrased &ldquo;jazz&rdquo;.&nbsp;&nbsp;Extending his style to folk and rock&rsquo;n&rsquo;roll, he joined Vanguard Records where he collaborated with prestigious artists such as Ike and Tina Turner, Joe Cocker, Esther Philips, Garland Jefferies, Charli Persip, Charles Mingus, Scott Faggan, Mort Shuman, and Jimi Hendrix who jammed with Bob for several evenings in New York following the &ldquo;Electric Circus&rdquo;. This period also found him participating in great televised shows like &ldquo;Saturday Night Live&rdquo;, &ldquo;Good Morning America&rdquo; or &ldquo;Gift Kirschner&rsquo;s&nbsp; Rock Concert&rdquo;. Engaged by Warner Brothers, he hectically travelled from concert to concert in the best known clubs of the United States until alcohol and drugs overtook his health. The end of the Seventies saw Bob Lenox sinking into a bottomless abyss which prompted him to desert the American musical scene for the sordid rooms in which he locked himself up over the ensuing years with what he calls: &ldquo;the abyssal human fault: loneliness &ldquo;. It was in Berlin that the chaotic path borrowed by Bob Lenox crossed that of Tony Baillargeat and Elias Bellouti who had come there for the needs of a feature film which they would never shoot and which was to be entitled Season of Souls&rdquo;. Impressed by the charisma and intact talent of the singer, they decided to put the money for the film which they had mustered up to produce a record album with the same title. Eight month later, &ldquo;Season of Souls&rdquo; was born. It contains ten titles whose lyricism is only equalled by the power of nature on the rhythm of the seasons. It is an &ldquo;ecological&rdquo; album in the sense that it adopts the eternal and internal time of one man with an exceptional voice who saw and lived everything honestly and who expressed it without lies. As Nick Tosches wrote about the music of the mysterious Emmett Miller, that of Bob Lenox capsizes the spirit of those who listen to it because it is &ldquo;neither country, neither blues, neither jazz... it is neither black, nor white, it is an alchemy of all of these...&rdquo; This album with its refined style is an amalgam of all those unknown sources which created American music such as we conceive of it today. It pays homage to the pioneers Jimmie Rodgers, Gene Autry or Furry Lewis; it salutes Hank Williams and Ernest Tubb, and even addresses an affectionate wink towards Bob Dylan and Johnny Cash.<br />&nbsp;&copy; 2007 2008 KRecords - Groupe Fr&eacute;meaux Colombini SAS</span></p><br /><p align=center><br /><span class=Texte><strong>All lyrics are written for the feeling of the words&hellip;<br />Not the correctness&hellip;<br />Language as a sound&hellip;<br />Is not a test.<br />Feel free to change any words you wish&hellip;<br />If that makes you feel better&hellip;</strong><br /><em>Bob Lenox</em></span></p><br /><p><br /><span class=Soustitre>THERE IS NO RIGHT</span></p><p><span class=Texte><em>CHORUS<br />WELL THERE IS NO RIGHT<br />AND THERE IS NO WRONG<br />THERE&rsquo;S ONLY LIVIN&rsquo;<br />AND THEN WE&rsquo;RE GONE<br />WELL THERE IS NO RIGHT<br />AND THERE IS NO WRONG<br />THERE&rsquo;S ONLY LOVIN&rsquo; <br />AND THEN WE&rsquo;RE GONE</em></span></p><br /><p><span class=Texte><em>OLD JESUS FOUND HIS PEACE ON EARTH<br />ON MOUNT CALVERY<br />THEY NAILED HIS HANDS <br />AND THEY PIERCED HIS HEART<br />AND THEY FINALLY SET THE BOY FREE..</em></span></p><br /><p><span class=Texte><em>CHORUS&hellip;..</em></span></p><br /><p><span class=Texte><em>GONNA BUY A CAR IN THE DDR<br />AND DRIVE IT TO BERLIN<br />STRAIGHT THROUGH THE WALL<br />TO HELL WITH &lsquo;EM ALL<br />CAUSE YOU GOTTA GET OUT <br />TO GET IN</em></span></p><br /><p><span class=Texte><em>CHORUS&hellip;..</em></span></p><br /><p><span class=Texte><em>OH JESUS CAN YOU GIVE ME ANOTHER TASTE<br />I WANT TO HOLD YOU<br />BEFORE THEY LAY MY SOUL TO WASTE&hellip;</em></span></p><br /><p><span class=Soustitre>LIFE IS FINE</span></p><p><span class=Texte><em>I&rsquo;ve been trying to cope<br />With a bag full of dope<br />And a million women on my mind</em></span></p><br /><p><span class=Texte><em>With clouds in my eyes<br />And the changing of the life<br />I always thought, that love was blind</em></span></p><br /><p><span class=Texte><em>I remember the day,<br />The day you were born,<br />You came out ready to fight,<br />I sat down and cried,<br />Overwhelmed by the sight,<br />Of this beautiful love in your eyes,</em></span></p><br /><p><span class=Texte><em>Chorus<br />My life is fine,<br />With you in my mind,<br />When I go there,<br />I don&rsquo;t feel alone,<br />Life is divine,<br />With you in my mind,<br />But it&rsquo;s better,<br />When you&rsquo;re in my arms</em></span></p><br /><p><span class=Texte><em>You brought me to tears,<br />And then came the fears,<br />Of the life and all of its lies,<br />The sad part I know,<br />Is I have to go,<br />And leave you alone in your life&hellip;</em></span></p><br /><p><span class=Texte><em>Don&rsquo;t worry about me,<br />This life is fine,<br />You showed me just what to do,<br />When I&rsquo;m feelin&rsquo; down,<br />I&rsquo;ll just turn around,<br />And bring my heart back to you</em></span></p><br /><p><br /><span class=Soustitre>ANGELS ON MY SHOULDER</span></p><p><span class=Texte><em>Sometimes I can see<br />In the morning through my window<br />There&rsquo;s a world a scrambling<br />to be free<br />And when I disappear for <br />the change of my skin<br />I&rsquo;ll be found inside the mystery</em></span></p><br /><p><span class=Texte><em>And the angels on my shoulder<br />Take me on the road again<br />They&rsquo;re pushing me to go now<br />I must begin again<br />And the angels on my shoulder<br />Telling me about you<br />And I&rsquo;ll be there the very next <br />time I&rsquo;m thru</em></span></p><br /><p><span class=Texte><em>I&rsquo;ve only got a little time<br />To say the things I must<br />They&rsquo;re comin&rsquo; to take me away</em></span></p><br /><p><span class=Texte><em>For a crime I committed a long<br />long time ago&hellip;<br />I don&rsquo;t wanna care to spend<br />my life<br />Shadowed in lies so I go with<br />a smile by an&rsquo; by&hellip;.</em></span></p><br /><p><span class=Soustitre>SYSTER FLY</span></p><p><span class=Texte><em>Sisterin&rsquo; down the highway doing a hundred and nine<br />Sister fly&rsquo;s makin&rsquo; time<br />Trying to beat the police to the country line<br />A voidin&rsquo; legal action for her life of crime</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She&rsquo;ll relieve you of your story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />She&rsquo;ll make some money on you</em></span></p><br /><p><span class=Texte><em>Started out to hustle at the age of ten<br />Learned about the bible but she turned around to sin<br />Claimed that the devil done took her in<br />And the only peace of mind was in a bottle of gin</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She will tell you a sad story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />You can get down and get a piece of glory</em></span></p><br /><p><span class=Texte><em>Sets up her tent then invites you in<br />Plays a little game and you think you gonna win<br />Look for your wallet and you find it&rsquo;s gone<br />Tells you that&rsquo;s the breaks so move along<br />She&rsquo;ll get you into heaven, for a donation<br />Checkout the speech on reincanation<br />Give her a dollar if you wanna come back<br />But she&rsquo;s gonna use the money for a Cadillac</em></span></p><br /><p><span class=Texte><em>Oh sister fly&rsquo;s out tonight if you got some time<br />She will tell you a sad story<br />Oh sister fly&rsquo;s out tonight if you got some time<br />She relieve you of your money and she&rsquo;ll give you glory</em></span></p><br /><p><span class=Texte><em>Amen</em></span></p><br /><p><span class=Texte>I WANT TO THANK TONY AND ELIAS FOR THEIR NEVER ENDING SUPPORT. THE MUSICIANS IN THIS BAND ARE SOME OF THE BEST IN THE WORLD &hellip; ALL SOLO ARTISTs COMING TOGETHER FOR THIS PRODUCTION&hellip; ERIC FOR HIS SUPER GUITAR... MICHA EL FOR THE BEAT... STEFAN&rsquo;S BRILLANT BASSWORK..ANDREJ&rsquo;S VIOLIN PLAYING IS MAGIC.. MELISSA, MY DAUGHTER ... IS THE ANGEL &hellip; MARKO THE MAESTRO KNOWS THE RIGHT PLUGIN TO USE...&nbsp; THIS MUSIC IS MADE LIVE WITH A LOT OF LOVE, POETRY AND HOPE THAT SOME HOW IT HELPS SOMEONE SOMEWHERE&hellip;</span><span class=Texte>&nbsp; BOB LENOX&nbsp; (JANUARY 2006)</span></p><br /><p><span class=Texte><strong>Musicians</strong></span></p><p><span class=Texte>All guitars : Eric St-Laurent</span></p><p><span class=Texte>Bass : Stefan Weeke</span></p><p><span class=Texte>Drums : Michael Griener</span></p><p><span class=Texte>Cello : Akira Ando, Solveigh Hubner</span></p><p><span class=Texte>Violin : Andrej Sudnitsyn</span></p><p><span class=Texte>Voice and Guitar : Bob Lenox</span></p><p><span class=Texte>Featuring on &ldquo;Life is fine&rdquo; : Melissa Lenox</span></p><p><span class=Texte>All words and music by : Bob Lenox</span></p><p><br /><span class=Texte>PRODUCED BY Tony BAILLARGEAT and Elias&nbsp; BELLOUTI</span></p><p><span class=Texte>Recorded and mixed by Marko Birkner at Studio P1, BERLIN<br />Mastered at Translab Studios, PARIS<br />Arrangements by Eric St-Laurent</span></p><br /><p><span class=Texte>D&eacute;sign by Pierre Chatellier / Cover photography by Elias Bellouti and Susanne Schaefer-Doerrenberg / Interior photography by Tony Baillargeat, Elias Bellouti and Susanne Shaefer-Doerrenberg / </span><span class=Texte>Special Thanks to Susanne Doerrenberg, Andreas Flack, st&eacute;phane Moisset, Pierre Chatellier, Jessica and Thelma Aberg, Marlon Lenox, Salma Lahmer, Marwan Salim Camelia and Dalila Bellouti, Djibril, Phyllis Glaeser, H&eacute;liopolis Corporation. / </span><span class=Texte>All&nbsp; tracks&nbsp; published by&nbsp; Kriminelle&nbsp; Records&nbsp; Coproduced by: Kriminelle Records&nbsp;/ G&eacute;n&eacute;ral&nbsp; Director: Elias Bellouti Artistic Director: Samuel Bouriahi / Communication Director: St&eacute;phane Moisset Assistant Artistic Director: Pierre Chatellier</span></p><br /><p><span class=Texte><span class=Source>CD Bob Lenox Season of Souls &copy; Fr&eacute;meaux &amp; Associ&eacute;s. (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></span></p></p></span></p>"
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      ]
    }
    -methodCacheResults: []
  }
  1 => ProductListingLazyArray {#617
    -imageRetriever: ImageRetriever {#668
      -link: Link {#165}
    }
    -link: Link {#165}
    -priceFormatter: PriceFormatter {#665}
    -productColorsRetriever: ProductColorsRetriever {#664}
    -translator: TranslatorComponent {#45}
    #settings: ProductPresentationSettings {#661
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
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    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#658
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      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
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      "dwf_livret" => "<h3>CALIFORNIA BLUES 1940-1948 FA 175</h3>  <p align=justify><span class=Soustitre2>CALIFORNIA BLUES </span><span class=Texte><br /></span><span class=Soustitre>1940-1948 </span><span class=Texte><br /></span>&nbsp;<span class=Texte>&nbsp;</span> <br /><span class=Texte>La Californie a donn&eacute; naissance durant les ann&eacute;es 40 &agrave; une forme sp&eacute;cifique de blues, m&ecirc;lant les sons terriens du Texas au jazz des cabarets chics de la C&ocirc;te Pacifique. La guitare &eacute;lectrique et le piano dominent un ensemble orchestral parfois limit&eacute; &agrave; une section rythmique mais souvent &eacute;tendu &agrave; une formation &eacute;toff&eacute;e de cuivres. Contrairement &agrave; ce que l&rsquo;on croit g&eacute;n&eacute;ralement, ce n&rsquo;est pas le blues de Chicago mais le blues californien des ann&eacute;es 40, &agrave; la fois profond et sophistiqu&eacute;, qui a connu le plus de succ&egrave;s aupr&egrave;s des acheteurs noirs. L&rsquo;influence des principaux stylistes californiens a fort marqu&eacute; le cours de tout le blues jusqu&rsquo;&agrave; Chicago et dans le Sud jusqu&rsquo;&agrave; aujourd&rsquo;hui.</span>  <span class=Texte>Ce coffret propose &agrave; l&rsquo;auditeur un voyage sur les bords de l&rsquo;Oc&eacute;an Pacifique dans les ann&eacute;es 40 quand les bluesmen texans venus travailler dans les chantiers navals ont rencontr&eacute; les crooners noirs du tout &laquo;Black Hollywood&raquo;. Une exp&eacute;dition en musique aux sources d&rsquo;un nouveau style: le California blues.</span>  <br /><span class=Soustitre>GO WEST, BLACK MAN</span>  <br /><span class=Texte>Ce n&rsquo;est certainement pas un hasard si la Deuxi&egrave;me Guerre Mondiale a engendr&eacute; seulement deux styles r&eacute;gionaux de blues vraiment originaux, substantiellement coh&eacute;rents et particuliers: le nouveau blues de Chicago (cf sa gen&egrave;se dans le coffret Chicago blues, 1940-47 FA 150) et le blues de Californie. A Chicago comme sur la C&ocirc;te Ouest, il y a eu un afflux massif de migrants noirs en provenance d&rsquo;une zone g&eacute;ographique donn&eacute;e. Ils apportaient avec eux un style de blues bien d&eacute;fini et de formidables espoirs de changer leur vie. Leur musique a refl&eacute;t&eacute; &agrave; la fois la permanence de leur style d&rsquo;origine et leurs nouvelles aspirations sociales. D&rsquo;autres centres urbains comme Detroit, Cleveland ou Cincinnati ont accueilli un grand nombre de migrants noirs sudistes durant les ann&eacute;es 40 mais ils venaient d&rsquo;un peu partout dans le Sud. Le blues urbain, orchestral et &eacute;lectrique, qui est n&eacute; dans ces endroits s&rsquo;est surtout fait par imitation des blues de Chicago et de Californie. Et si le blues du Mississippi a engendr&eacute; celui de Chicago durant la guerre, c&rsquo;est le blues du Texas qui va se prolonger en Californie de fa&ccedil;on orchestrale.</span>  <br /><span class=Texte>Les principaux artistes noirs californiens d&rsquo;avant-guerre &eacute;taient en fait des musiciens et des acteurs venus travailler dans le cin&eacute;ma, figurants ou m&ecirc;me vedettes des films pour Noirs, courts et longs m&eacute;trages, que Hollywood produisait et qui demeurent aujourd&rsquo;hui encore extr&ecirc;mement mal document&eacute;s: films musicaux bien s&ucirc;r mais aussi polars et westerns. On citera notamment la s&eacute;rie de westerns chantants Harlem on the Prairie avec Herbert Jeffries, ancien vocaliste de Duke Ellington. Ces films copiaient avec des acteurs noirs les westerns chantants habituels de Gene Autry ou Roy Rogers (cf Western/ Cowboy ballads and songs FA 034) jusqu&rsquo;&agrave; faire chevaucher un cheval blanc par le h&eacute;ros noir! Destin&eacute;e aux cin&eacute;mas des quartiers noirs, la s&eacute;rie Harlem on the Prairie a aussi connu un grand succ&egrave;s aupr&egrave;s des spectateurs blancs, probablement &agrave; cause du swing de la musique. Lorsque la pianiste et chanteuse noire de pop Cleo Brown enregistre &agrave; Los Angeles en 1935 When Hollywood goes black and tan, il s&rsquo;agit non d&rsquo;un voeu pieu mais de la description d&rsquo;une r&eacute;alit&eacute;. Ces artistes &eacute;taient acteurs et figurants dans le cin&eacute;ma hollywoodien, interpr&eacute;taient aussi des films &laquo;raciaux&raquo; pour les salles de spectacle de toute l&rsquo;Am&eacute;rique noire mais leur pr&eacute;sence &agrave; Hollywood a d&rsquo;&eacute;vidence entretenu une sc&egrave;ne musicale locale o&ugrave;, on l&rsquo;imagine, le blues n&rsquo;&eacute;tait pas la forme la plus pratiqu&eacute;e.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Soustitre>LA LIGNE DE SANTA FE : QUAND LE TEXAS PEUPLE LA CALIFORNIE</span>  <br /><span class=Texte>C&rsquo;est dans ce contexte que la Californie va accueillir des dizaines de milliers de migrants noirs. </span>  <span class=Texte>Apr&egrave;s Pearl Harbour, les Etats-Unis se retrouvent d&eacute;sarm&eacute;s face &agrave; l&rsquo;armada japonaise qui menace les c&ocirc;tes californiennes durant l&rsquo;hiver 1942, allant m&ecirc;me jusqu&rsquo;&agrave; envoyer quelques bombes sur Seattle et Portland. Il faut absolument et rapidement reconstituer la flotte am&eacute;ricaine afin de faire face &agrave; cette menace pressante sur le Pacifique. Pour ce faire, les Etats-Unis &eacute;chafaudent de gigantesques chantiers navals dans la r&eacute;gion de San Francisco et Los Angeles. Mais la Californie est tr&egrave;s peu peupl&eacute;e et sa traditionnelle immigration chinoise est compl&egrave;tement tarie par l&rsquo;occupation de l&rsquo;Asie par les Japonais. Il ne reste pratiquement que la solution d&rsquo;une migration sudiste. Mais aller en Californie en hiver depuis le Mississippi est impossible: les Montagnes Rocheuses constituent &agrave; l&rsquo;&eacute;poque une barri&egrave;re infranchissable. La Californie attire alors essentiellement des travailleurs originaires du Texas, de l&rsquo;Oklahoma ou de l&rsquo;Ouest de la Louisiane qui gagnent les chantiers navals via le chemin de fer de Santa Fe, une ancienne ligne qui d&eacute;crivait les villes mini&egrave;res abandonn&eacute;es de l&rsquo;Arizona et du Nouveau Mexique.</span>  <br /><span class=Texte>Le prol&eacute;tariat californien est ainsi surtout texan, Blancs et Noirs.</span>&nbsp;<span class=Texte>Le blues texan de Dallas ou Houston n&rsquo;a pas tant &eacute;volu&eacute; depuis Blind Lemon Jefferson et les pianistes du ghetto de la gare de Houston. Il d&eacute;cline plusieurs caract&eacute;ristiques qui le situent tr&egrave;s &agrave; part des autres formes de blues originales. Le bluesman texan joue de la guitare avec les doigts mais &agrave; la fa&ccedil;on du flamenco hispanique qui avait tant marqu&eacute; ces anciennes possessions mexicaines: le pouce, voire toute la main, frappe les basses puis les autres doigts d&eacute;crivent des arp&egrave;ges rapides, s&rsquo;arr&ecirc;te presque ou totalement pour laisser chanter une phrase puis reprend selon le m&ecirc;me processus. On est tr&egrave;s loin du strumming hypnotique du Delta ou du fingerpicking impeccable des Carolines! Les paroles et les th&egrave;mes de la plupart des blues texans sont aussi tr&egrave;s fortement marqu&eacute;s par la tradition nord-mexicaine issue de l&rsquo;Andalousie: textes et histoires tr&egrave;s &eacute;labor&eacute;s, grands drames et grandes passions personnels avec, tr&egrave;s souvent, un fond d&rsquo;humour d&eacute;vastateur. Enfin, la guitare blues du Texas est fort marqu&eacute;e par le jeu du guitariste Lonnie Johnson (cf Lonnie Johnson FA 262), qui se rattache d&rsquo;ailleurs plus ou moins &agrave; cette aire g&eacute;ographique. R&eacute;ussite, &eacute;l&eacute;gance, &eacute;ducation... Lonnie symbolise le mod&egrave;le &agrave; suivre. En plus, il a accompagn&eacute; un des p&egrave;res du blues texan, Texas Alexander, dans ses titres les plus connus. On peut entendre l&rsquo;influence du jeu que pratique Johnson derri&egrave;re Alexander chez des dizaines de bluesmen texans, y compris Lightnin&rsquo; Hopkins. </span>  <span class=Texte>L&rsquo;un de ces guitaristes texans est Aaron &laquo;T-Bone&raquo; Walker qui, apr&egrave;s avoir jou&eacute; dans tout le Texas et enregistr&eacute; d&egrave;s l&rsquo;&acirc;ge de 19 ans, va s&rsquo;imposer durant les ann&eacute;es 40 comme l&rsquo;arch&eacute;type du bluesman urbain californien!</span>  <br /><span class=Texte>&nbsp;</span> <span class=Soustitre><br />LE JUKE JOINT TEXAN SUR LES BORDS DU PACIFIQUE  </span> <br /><span class=Texte>Les migrants noirs des Etats du Sud-Ouest venus massivement en Californie am&egrave;nent donc avec eux leur blues, terrien, brut, &eacute;motionnel. Mais contrairement &agrave; ce qui s&rsquo;est pass&eacute; &agrave; Chicago o&ugrave; le &laquo;down home&raquo; blues va assez vite s&rsquo;imposer et bouleverser l&rsquo;architecture musicale urbaine et sophistiqu&eacute;e mise en place dans les ann&eacute;es 30 par Lester Melrose, le blues texan va sembler s&rsquo;adapter sans heurts et se dissoudre tr&egrave;s vite (du moins en apparence) dans le terreau californien. Les neuf premiers titres du CD 1 de ce coffret sont des blues &laquo;profonds&raquo; enregistr&eacute;s par des migrants r&eacute;cents en Californie. Ils sont emplis de l&rsquo;atmosph&egrave;re poisseuse des juke-joints ruraux, les guitares sont plus ou moins accord&eacute;es et les timbres &eacute;raill&eacute;s sont aux antipodes des canons de la &laquo;belle voix&raquo; noire des chanteurs de grands orchestres. Mais le feeling est au maximum. Le producteur Chris Strachwitz, futur fondateur du magnifique label Arhoolie, alors r&eacute;cent immigr&eacute; d&rsquo;Europe Centrale en Californie, &eacute;corche les oreilles de ses parents avec les disques de blues noir qu&rsquo;il passe sans cesse sur l&rsquo;&eacute;lectrophone familial. &laquo;Comment peux-tu &eacute;couter des choses pareilles, personne ne joue ni ne chante juste?&raquo; lui demande son p&egrave;re. &laquo;Peut-&ecirc;tre&raquo; r&eacute;pond Chris &laquo;Mais ils s&rsquo;expriment avec leurs tripes!&raquo;. </span>  <br /><span class=Texte>Comme le r&ecirc;ve de Chicago pour les immigrants du Mississippi, l&rsquo;Eldorado californien se r&eacute;v&egrave;le un mirage pour bien des Noirs texans venus trouver fortune et reconnaissance sociale au soleil de la C&ocirc;te Ouest. Les ghettos insalubres et surpeupl&eacute;s remplacent les hameaux noirs des campagnes du Texas. La s&eacute;gr&eacute;gation n&rsquo;existe pas dans les lois mais elle r&egrave;gne de facto partout. Oakland devient vite une banlieue essentiellement noire de San Francisco o&ugrave; s&rsquo;ensevelissent bien des r&ecirc;ves. Et, &agrave; peine arriv&eacute;, Thunder Smith chante d&rsquo;une voix d&eacute;sabus&eacute;e dans L. A. blues: &laquo;Yes my home is in Louisiana and I got no business here&raquo;. Black Diamond lui fait &eacute;cho dans T.P. Railer: &laquo;I left Texas with my baby by my side/ Since I&rsquo;ve been leaving here, I can&rsquo;t be satisfied&raquo;. Joe Pullum cl&ocirc;t notre s&eacute;lection avec un des blues les plus lugubres de l&rsquo;apr&egrave;s-guerre, I came to California dans lequel il semble r&eacute;sumer toutes les attentes et les frustrations du travailleur Noir venu en Californie pleins d&rsquo;illusions. Comme souvent dans les paroles des blues, les probl&egrave;mes que rencontrent les Noirs sont symbolis&eacute;s par la &laquo;m&eacute;chante&raquo; femme. Lorsque le bluesman donne un pr&eacute;nom &agrave; la fille qu&rsquo;il chante, il s&rsquo;agit d&rsquo;une personne r&eacute;elle. Par contre, lorsqu&rsquo;il parle de &laquo;la femme&raquo;, il s&rsquo;agit bien moins d&rsquo;une figure voire d&rsquo;un clich&eacute; sexiste, comme on l&rsquo;a &eacute;crit ici et l&agrave;, que d&rsquo;une fa&ccedil;on commode (m&ecirc;me si elle n&rsquo;est pas tr&egrave;s &eacute;l&eacute;gante aux oreilles contemporaines, mais tous les Noirs la comprenaient alors) de tourner la censure in&eacute;vitable (quel producteur aurait publi&eacute; une chanson ouvertement contestataire par un Noir?) ou m&ecirc;me les ennuis physiques avec les ligues racistes. Ecoutons ainsi Joe Pullum en rempla&ccedil;ant l&rsquo;emprise de &laquo;la femme&raquo; par celle de l&rsquo;&laquo;ordre blanc sudiste&raquo;: &laquo;I came to California, I came to California/ To get rid of my little woman for good/ But when I walked down to 42nd and Central/ Right there my woman stood/ She looked at me smilin&rsquo;, she looked at me smilin&rsquo;, Lord/ I could hardly catch my breath/ But when she put her arms around me/ I liked to laugh myself to death... You been mistreatin&rsquo; me, you been mistreatin&rsquo; me/ But now the time has come/ I&rsquo;m not going to use no pistol, baby/ But goin&rsquo; to blast you with an atomic bomb&raquo;.</span>  <br /><span class=Texte>Quant &agrave; Guitar Slim Green, il adapte un blues du Texan Curtis Jones avec Alla blues, la toute premi&egrave;re version californienne de Tin Pan Alley qui deviendra, ode sombre et poignante sur l&rsquo;atmosph&egrave;re dangereuse de certains quartiers noirs, un peu &laquo;l&rsquo;hymne national&raquo; du blues de la C&ocirc;te Ouest, repris via le grand succ&egrave;s de Jimmy Wilson en 1953 jusqu&rsquo;&agrave; aujourd&rsquo;hui par quantit&eacute; de musiciens.</span>  <span class=Texte>D&rsquo;autres bluesmen s&rsquo;expriment dans un style rural mais avec un ton nettement plus optimiste. Apr&egrave;s tout, la vie en Californie a de bons c&ocirc;t&eacute;s: l&rsquo;obscur mais tr&egrave;s influent Jesse Thomas; Smokey Hogg qui joue un magnifique blues sautillant, changeant d&rsquo;accord quand et comme il le veut, ne respectant aucune mesure, mais impeccablement accompagn&eacute; de la pianiste de cabarets chics Hadda Brooks! Et c&rsquo;est Jimmy Mc Cracklin qui dans Baby don&rsquo;t you want to go adapte Kokomo blues/ Sweet home Chicago &agrave; la g&eacute;ographie californienne, accompagn&eacute; d&rsquo;un seul piano au jeu lourd du barrelhouse sudiste. Trois ans plus tard, le m&ecirc;me Mc Cracklin s&rsquo;exprime en trio urbain, jazzy et classieux dans Bad luck and trouble, une version de Unlucky one du Doctor Clayton, l&rsquo;Africain du blues (cf Chicago blues, 1940-47 FA 150) avec le guitariste Robert Kelton, un des brillants mais m&eacute;connus pionniers de la guitare blues californienne.</span><br /><span class=Soustitre><br />LE BLUES CALIFORNIEN,&nbsp; UN MELANGE ORIGINAL  </span><br /><span class=Texte>De fa&ccedil;on surprenante, la musique de cabaret, jazzy, soft et classy, bien repr&eacute;sent&eacute;e par un Nat King Cole qui triomphe alors particuli&egrave;rement sur la C&ocirc;te Ouest, semble accueillir sans difficult&eacute; apparente pianistes et guitaristes texans. Cela donne en quelques ann&eacute;es et surtout dans la r&eacute;gion de Los Angeles un blues &agrave; la fois d&eacute;pouill&eacute; et sophistiqu&eacute;, terrien et urbain, direct et affect&eacute;, tout &agrave; fait unique : le West Coast blues. Ce style est repr&eacute;sent&eacute; au mieux par Charles Brown, Amos Milburn, Floyd Dixon, Little Willie Littlefield, un peu plus tard Ray Charles, tous immigr&eacute;s texans venus chercher fortune et reconnaissance sociale au soleil californien. Qu&rsquo;on me permette de me citer (La Grande Encyclop&eacute;die du Blues) pour d&eacute;finir ce style, baptis&eacute; &agrave; l&rsquo;&eacute;poque &laquo;sepia-Sinatras&raquo;: &laquo;Le style vocal, affect&eacute; jusqu&rsquo;&agrave; l&rsquo;emphase et un entrelacs subtil de guitare et de piano &eacute;voquent la p&eacute;nombre o&ugrave; se dissoudrait lentement un chagrin inconsolable dans des vapeurs de whiskey et des volutes de fum&eacute;e&raquo;. La r&eacute;ponse des jeunes Noirs (et particuli&egrave;rement des jeunes Noires) &agrave; ce nouveau blues a &eacute;t&eacute; consid&eacute;rable. Entre 1945 et 1955, c&rsquo;est le style de blues le plus populaire. Celui qui semble r&eacute;sumer le mieux les aspirations des Afro-am&eacute;ricains &agrave; une reconnaissance sociale et &agrave; une vie meilleure. Il faut souligner aussi que ces musiciens, comme le dira Charles Brown, jouaient souvent dans des lieux uniquement fr&eacute;quent&eacute;s par des Blancs. Cela aussi explique leur &eacute;locution impeccable, les textes peu agressifs, totalement d&eacute;pouill&eacute;s de ce double sens qui irrigue alors tout le blues des juke joints et des bars de ghettos.</span>  <br /><span class=Texte>Les blues shouters, ces beugleurs de blues des grands orchestres de jazz, se retrouvent aussi tr&egrave;s facilement dans le style classe du Sud de la Californie. Big Joe Turner ou Jimmy Witherspoon chantent au sein de petites formations enrichies de cuivres et se font vite une place de choix dans la sc&egrave;ne californienne. La C&ocirc;te Ouest est d&rsquo;ailleurs naturellement un des creusets du Rhythm &amp; Blues d&rsquo;apr&egrave;s guerre comme la d&eacute;crit Alain Tomas dans Roots of Rhythm &amp; Blues FA 050. Les ensembles de Roy Milton, Jimmy Liggins ou Joe Lutcher sont, comme d&rsquo;ailleurs Charles Brown et Amos Milburn, au carrefour du Rhythm &amp; Blues et du nouveau blues californien qu&rsquo;il n&rsquo;est pas toujours facile de diff&eacute;rencier.</span>&nbsp;  <span class=Texte>Peut-&ecirc;tre cette diff&eacute;rence sera, dans cette forme de blues californien, la pr&eacute;&eacute;minence du guitariste texan qui d&eacute;roule ses arp&egrave;ges au-dessus d&rsquo;un ensemble orchestral de piano, contrebasse, batterie et d&rsquo;une ligne de cuivres. Personne ne sym&shy;bolise mieux le guitariste orchestral texano-californien que Aaron T-Bone Walker. Imbib&eacute; de musique d&egrave;s son enfance, T-Bone guide les pas du grand bluesman texan Blind Lemon Jefferson et chante et danse dans une troupe itin&eacute;rante. En 1929, sous le nom de Oak Cliff T-Bone, il fait ses d&eacute;buts sur disque dans le style habituel du blues texan de la r&eacute;gion de Dallas. A travers un engagement avec Cab Calloway, Walker d&eacute;couvre le monde du jazz et, s&eacute;duit par le jeu de guitare note par note de Lonnie Johnson, il d&eacute;cide de se perfectionner sur son instrument en prenant des cours avec le professeur de Charlie Christian! <br />A Los Angeles en 1934, T-Bone joue d&eacute;sormais dans des orchestres de Swing et il est un des tout premiers &agrave; utiliser l&rsquo;amplification &eacute;lectrique dans le blues. Il enregistre en 1940 avec l&rsquo;ensemble de Les Hite T-Bone blues. Mais c&rsquo;est son association avec le nouveau label californien Capitol &agrave; partir de 1942 qui va permettre &agrave; T-Bone de s&rsquo;imposer comme une des vedettes du nouveau blues urbain de la C&ocirc;te Ouest: tempos alanguis, compositions sentimentales et atmosph&egrave;re &eacute;th&eacute;r&eacute;e... La voix voil&eacute;e et chaude de T-Bone flotte sur un coussin de cuivres et sa guitare limpide et fluide s&rsquo;insinue jusque dans le coeur des jeunes noires qui le pl&eacute;biscitent. T-Bone Walker, avec sa prestance et ses belles mani&egrave;res est le mod&egrave;le &agrave; suivre pour un public de migrants noirs assoiff&eacute;s de r&eacute;ussite. D&egrave;s lors, son influence va &ecirc;tre &eacute;norme sur l&rsquo;&eacute;volution du blues d&rsquo;apr&egrave;s-guerre. C&rsquo;est en partie sa personnalit&eacute; et son jeu de guitare qui inspirent la plupart des guitaristes de l&rsquo;apr&egrave;s-guerre, de B.B. King &agrave; Buddy Guy et y compris Stevie Ray Vaughan. Ici, Pee Wee Crayton, Clarence &laquo;Gatemouth&raquo; Brown et m&ecirc;me Lowell Fulson (qui restera toujours plus &laquo;terrien&raquo;) sont des &eacute;mules directs de T-Bone. Saunders King et Gene Phillips repr&eacute;sentent une g&eacute;n&eacute;ration un peu ant&eacute;rieure qui, arriv&eacute;e tr&egrave;s t&ocirc;t en Californie, a essuy&eacute; les pl&acirc;tres, n&rsquo;a pas r&eacute;ussi &agrave; s&rsquo;imposer nettement mais a indubitablement ouvert la voie. Enfin, d&rsquo;&eacute;vidence, les guitaristes de Nat King Cole, Johnny et Oscar Moore, sont des exemples &agrave; suivre pour bien des guitaristes de la C&ocirc;te Ouest. Une des caract&eacute;ristiques absolues de ce blues californien est l&rsquo;influence constante et importante du jazz.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Soustitre><br />UN IMPORTANT MARCHE LOCAL  </span><br /><span class=Texte>En Californie comme ailleurs durant les ann&eacute;es 40, aucune sc&egrave;ne du blues n&rsquo;aurait pu &eacute;clore v&eacute;ritablement et surtout perdurer sans la pr&eacute;sence de producteurs ind&eacute;pendants, de labels discographiques et de radios sp&eacute;cialis&eacute;es.</span>  <span class=Texte>La migration massive de Texans vers la C&ocirc;te Ouest cr&eacute;e un march&eacute; local pour les traditions musicales de ces transplant&eacute;s. Des radios &eacute;mettent &agrave; destination de ces immigrants et diffusent du blues, du Rhythm &amp; Blues. Les grandes compagnies sont incapables de saisir l&rsquo;ampleur et l&rsquo;int&eacute;r&ecirc;t de ce nouveau march&eacute; et l&rsquo;imm&eacute;diate apr&egrave;s-guerre voit l&rsquo;&eacute;mergence de multiples petites compagnies ind&eacute;pendantes (dont certaines seront tenues - fait nouveau et v&eacute;ritable r&eacute;volution - par des hillbillies et m&ecirc;me par des Noirs) qui sortent des disques de nouveaux artistes &agrave; destination avant tout de ce prol&eacute;tariat d&rsquo;immigr&eacute;s sudistes qui constitue un public important &agrave; niveau de vie relativement cons&eacute;quent. En Californie, Capitol cr&eacute;&eacute; au printemps 1942 par trois audacieux qui, constatant l&rsquo;absence de compagnie de disque sur la C&ocirc;te Ouest, mettent tout leur argent dans leur nouveau label: le compositeur Johnny Mercer, le producteur de films Buddy De Sylva et un vendeur local de disques, Glenn Wallichs. L&rsquo;entreprise improbable va assez vite se r&eacute;v&eacute;ler tr&egrave;s rentable, notamment dans le domaine de la pop jazzy et de la country music. Le catalogue Capitol sera moins fourni en blues et Rhythm &amp; Blues &agrave; l&rsquo;exception tr&egrave;s importante de T-Bone Walker. Ce sont aussi de petits labels destin&eacute;s aux Noirs qui vont nourrir la sc&egrave;ne californienne. Jack Lauderdale, Art Rupe (dont nous d&eacute;crivons la d&eacute;marche dans Rock&rsquo;n&rsquo;Roll 1947 FA 353), Bob Geddins, les fr&egrave;res Bihari enregistrent des centaines d&rsquo;artistes et cr&eacute;ent l&rsquo;essentiel des labels de blues californiens de l&rsquo;apr&egrave;s-guerre (RPM, Big Town, Down Town, Echo, Elko, Club, J.R. Fullbright, Murray, Speed...). Enfin, il faut aussi souligner le r&ocirc;le obscur mais tr&egrave;s important jou&eacute; par des musiciens-arrangeurs-producteurs, v&eacute;ritables &acirc;mes d&rsquo;innombrables s&eacute;ances d&rsquo;enregistrement, tel le chef d&rsquo;orchestre et saxophoniste Maxwell Davis pr&eacute;sent ici sur de nombreux titres.</span>  <span class=Texte>&nbsp;</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Soustitre>LES ARTISTES : </span>  <br /><span class=Texte><strong>BLACK DIAMOND :</strong> On ne sait pas grand&rsquo;chose de James Butler alias Black Diamond qui a enregistr&eacute; deux titres en 1948. Il provient probablement du Texas (comme il l&rsquo;indique dans T.P. Railer que nous proposons ici) et sa voix ressemble souvent &agrave; celle de K.C. Douglas, un autre bluesman profond de la Californie de l&rsquo;apr&egrave;s-guerre. Il a disparu aussi vite qu&rsquo;il &eacute;tait apparu.</span>  <br /><span class=Texte><strong>BROOKS (Hadda) : </strong>La pianiste et chanteuse noire Hadda Brooks a beaucoup enregistr&eacute; &agrave; partir de 1945 dans le domaine de la pop, du boogie et quelques blues. Raffin&eacute;e et sophistiqu&eacute;e jusqu&rsquo;au bout de son toucher &eacute;l&eacute;gant et a&eacute;rien, elle repr&eacute;sente bien la musique qu&rsquo;&eacute;coutaient les nouveaux Noirs californiens.</span>  <br /><span class=Texte><strong>BROWN (Charles) :</strong> Professeur de piano classique, Charles Brown (n&eacute; en 1922) abandonne son Texas natal en 1943 pour tenter sa chance &agrave; Los Angeles. Il joue le r&ocirc;le de Nat King Cole au sein des Three Blazers de Johnny et Oscar Moore avec lesquels il obtient des succ&egrave;s imm&eacute;diats (Drifting blues, Merry Xmas, baby et ce Soothe me). C&rsquo;est Charles qui cr&eacute;e vraiment une v&eacute;ritable &eacute;cole de blues/ballade californienne qualifi&eacute;e par la critique d&rsquo;alors de sepias Sinatras. Gr&acirc;ce au guitariste Dany Caron, Charles Brown a repris une carri&egrave;re tr&egrave;s active durant une dizaine d&rsquo;ann&eacute;es avant de d&eacute;c&eacute;der en 1999.</span>  <br /><span class=Texte><strong>BROWN (Clarence &laquo;Gatemouth&raquo;) :</strong> Un musicien tr&egrave;s versatile, &laquo;Gatemouth&raquo; Brown (n&eacute; en 1924) est comme beaucoup de texano/louisianais de sa g&eacute;n&eacute;ration tr&egrave;s influenc&eacute; par le blues, le Western Swing , le jazz et m&ecirc;me la musique Cajun. C&rsquo;est dans un type de Rhythm &amp; Blues urbain, tr&egrave;s marqu&eacute; par T-Bone Walker que Clarence Brown s&rsquo;est fait conna&icirc;tre dans les ann&eacute;es 40 et 50. Mais, par la suite, il a multipli&eacute; les albums de blues jazzy ainsi que ceux de Country Music avec un bonheur fr&eacute;quent. Un guitariste plein de verve et de swing, il demeure une r&eacute;f&eacute;rence pour beaucoup d&rsquo;apprentis-guitaristes.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>COLE (Nat &laquo;King&raquo;) :</strong> Bien qu&rsquo;il serait tout &agrave; fait excessif de faire de Nat King Cole un bluesman (cf les deux coffrets de la s&eacute;rie Quintessence qu&rsquo;Alain Gerber a consacr&eacute;s &agrave; ce jazzman: FA 208 et FA 227), il a fortement influenc&eacute; le destin du blues californien. Les deux fr&egrave;res Oscar et Johnny Moore ont figur&eacute; dans son trio. Et c&rsquo;est Johnny Moore qui a fond&eacute; les Three Blazers avec Charles Brown aux claviers et au chant, l&rsquo;arch&eacute;type du blues chic californien.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>CRAYTON (Pee Wee) : </strong>Crayton (1914-85) apprend la guitare avec les disques de Charlie Christian et surtout gr&acirc;ce aux conseils de T-Bone Walker. Venu chercher fortune &agrave; Los Angeles pendant la guerre, Pee Wee conna&icirc;t de gros succ&egrave;s d&egrave;s ses premiers disques (ce beau Central Avenue blues). Il restera aux c&ocirc;t&eacute;s de T-Bone, Lowell Fulson et Gatemouth Brown un des meilleurs repr&eacute;sentants du blues texano-californien.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>DIXON (Floyd) : </strong>Un &eacute;mule de Charles Brown et Amos Milburn, Floyd Dixon (n&eacute; en 1929) est m&ecirc;me all&eacute; jusqu&rsquo;&agrave; remplacer Charles dans les Three Blazers de Johnny Moore! Floyd, un pianiste expressif et un chanteur &agrave; la voix voil&eacute;e et incroyablement bluesy, a enregistr&eacute; une oeuvre copieuse ponctu&eacute;e de belles r&eacute;ussites comme ce Prairie dog hole, tr&egrave;s influenc&eacute; par la Country Music californienne de l&rsquo;&eacute;poque.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>FULSON (Lowell) :</strong> De descendance pure cherokee, Lowell (n&eacute; en 1921) est &eacute;lev&eacute; sur une r&eacute;serve indienne et joue dans les bals campagnards. Il accompagne dans les ann&eacute;es 30 le chanteur-aveugle Texas Alexander. Il gagne la Californie durant la guerre et devient un des cr&eacute;ateurs du blues californien, mariant son Texas blues rural au Rhythm &amp; Blues des cabarets de Los Angeles. Il enregistre de fa&ccedil;on continue &agrave; partir de 1946 jusqu&rsquo;&agrave; nos jours, connaissant de nombreux succ&egrave;s (Reconsider baby, Tramp, Everyday I have the blues...).Chanteur chaleureux, compositeur imaginatif, guitariste &eacute;conome mais efficace, Fulson s&rsquo;est r&eacute;v&eacute;l&eacute; capable de se mouler dans tous les styles de blues tout en conservant le parfum terrien irr&eacute;sistible de ses premi&egrave;res influences.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>GANT (Cecil) :</strong> Cecil Gant (1913-52) a &eacute;t&eacute; entre 1945 et 1951 un des artistes les plus populaires de la C&ocirc;te Ouest &agrave; partir de I wonder, un &eacute;norme succ&egrave;s qui a ouvert la voie &agrave; la ballade bluesy californienne. Contrairement &agrave; la plupart des bluesmen de Californie, Gant ne vient pas du Texas mais de Nashville. Il est mobilis&eacute; durant la guerre et stationne sur la C&ocirc;te Ouest. Excellent pianiste, d&rsquo;abord tr&egrave;s influenc&eacute; par les grands du boogie-woogie comme Albert Ammons et Meade Lux Lewis avec un prodigieux swing de la main gauche, Gant est, d&egrave;s son arriv&eacute;e en Californie, fortement marqu&eacute; par Nat King Cole. Il a grav&eacute; plusieurs tr&egrave;s beaux blues dont ce Special delivery.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>GLENN (Lloyd) : </strong>(1909-85) Ce pianiste remarquable a partag&eacute; son temps entre blues et jazz avec un bonheur consid&eacute;rable. Il a enregistr&eacute; de beaux titres en vedette et encore davantage accompagn&eacute; Lowell Fulson, T-Bone Walker ou B.B. King sur certains de leurs meilleurs morceaux. Nous pr&eacute;sentons ici un bon blues qu&rsquo;interpr&egrave;te l&rsquo;obscure chanteuse Geraldine Carter.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>GREEN (Guitar Slim) : </strong>(1920-75) Ce chanteur et guitariste originaire du Texas a enregistr&eacute; plusieurs classiques du down home blues californien, notamment Alla blues qui, transform&eacute; en Tin pan alley, deviendra pratiquement l&rsquo; &laquo;hymne national&raquo; des ghettos de Californie du Nord. Il gravera un album magnifique dans les ann&eacute;es 60 pour Johnny Otis. Mais toute la courte oeuvre de ce bluesman est remarquable.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>HOGG (Smokey) :</strong> Aujourd&rsquo;hui peu connu, Smokey (1914-60) est en fait un grand nom du blues texano-californien. Il m&eacute;lange la tradition des bluesmen de Dallas avec d&rsquo;indubitables influences de stylistes de Chicago, comme Big Bill Broonzy et de traits du Western Swing. Il a en fait connu un succ&egrave;s consid&eacute;rable aupr&egrave;s des Noirs entre 1948-55 avec des pi&egrave;ces vivaces et swinguantes comme ce Worryin&rsquo; mind dans lequel il est accompagn&eacute; de la pianiste Hadda Brooks.</span>&nbsp; <br /><span class=Texte><strong>HUNTER (Ivory Joe) :</strong> (1914-74). Surtout connu pour l&rsquo;&eacute;norme succ&egrave;s de sa ballade Since I met you baby, Ivory Joe Hunter, voix de velours, pianiste &agrave; la main gauche puissante, a &eacute;t&eacute; un nom important du Rhythm &amp; Blue texano-californien. Incapable d&rsquo;&eacute;marger au Rock&rsquo;n&rsquo;Roll, il a fait une perc&eacute;e &eacute;tonnante dans les ann&eacute;es 50 dans le domaine de la Country Music! Reconversion blues, un beau th&egrave;me sur l&rsquo;apr&egrave;s-guerre, est un de ses meilleurs blues. Il y est accompagn&eacute; de Pee Wee Crayton.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>JOHNSON (Sonny Boy) :</strong> On ne sait quasiment rien de ce Sonny Boy Johnson, pas m&ecirc;me son vrai pr&eacute;nom. Il a enregistr&eacute; une poign&eacute;e de titres tr&egrave;s terriens &agrave; Los Angeles en 1947 et 1948. Dans Desert blues, qui d&eacute;taille certains lieux g&eacute;ographiques californiens, il appara&icirc;t comme un tr&egrave;s convaincant &eacute;mule de John Lee &laquo;Sonny Boy&raquo; Williamson, ce qui explique sans doute son sobriquet.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>KING (Saunders) :</strong> (1909-92) a &eacute;t&eacute; un des pionniers du blues de San Francisco, enregistrant d&egrave;s 1942 le S.K. Groove que nous proposons ici. Un guitariste subtil et tr&egrave;s jazz (Charlie Christian est son influence premi&egrave;re), Saunders a eu ensuite un certain succ&egrave;s avec S.K. Blues, enregistrant jusqu&rsquo;en 1961 avant d&rsquo;&ecirc;tre red&eacute;couvert par les Su&eacute;dois et de retrouver les chemins des studios en 1979 derri&egrave;re... Carlos Santana sur l&rsquo;album Oneness!</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>LIGGINS (Jimmy) :</strong> Ce guitariste et chanteur, parfois harmoniciste (1924-84), a aussi connu une p&eacute;riode faste dans la foul&eacute;e de son fr&egrave;re Joe, un des pionniers du Rhythm &amp; Blues, avec des pi&egrave;ces comme The Washboard Special, Saturday night boogie-woogie ou certains blues pleins d&rsquo;une atmosph&egrave;re terrienne comme ce Troubles goodbye. C&rsquo;est cependant son travail d&rsquo;arrangeur et de musicien de studio qui lui a assur&eacute; sa r&eacute;putation.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>LITTLEFIELD (Little Willie) :</strong> Ce pianiste au swing puissant n&eacute; en 1931, est l&rsquo;auteur du c&eacute;l&egrave;bre Kansas City, devenu un des classiques du Rhythm &amp; Blues et du Rock&rsquo;n&rsquo;Roll. Il n&rsquo;a jamais cependant r&eacute;ussi la carri&egrave;re que son talent pouvait lui permettre d&rsquo;esp&eacute;rer. Little Willie boogie, que nous pr&eacute;sentons ici, est son tout premier enregis&shy;trement.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>LUTCHER (Joe) : </strong>Ce saxophoniste et chanteur, chef d&rsquo;orchestre de Rhythm &amp; Blues a d&eacute;but&eacute; avec Nat King Cole avant de signer sur Capitol (cf aussi Rock&rsquo;n&rsquo;Roll 1947 FA 353). Malgr&eacute; une oeuvre de qualit&eacute; et des boogies souvent d&eacute;vastateurs comme ce No name boogie, il ne conna&icirc;t gu&egrave;re le succ&egrave;s. Il abandonne la musique pour se consacrer &agrave; la religion en 1957 lorsque les Russes lancent le premier Sputnik dans l&rsquo;espace, &eacute;v&eacute;nement que le musicien interpr&egrave;te comme un signal divin.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>MAIDEN (Sidney) : </strong>(1923-?). Encore un paysan de la fronti&egrave;re Texas-Louisiane venu tenter sa chance en Californie durant les ann&eacute;es de guerre, Sidney a grav&eacute; une poign&eacute;e de titres tr&egrave;s &laquo;down home&raquo;, en compagnie de K.C. Douglas avant de dispara&icirc;tre de la sc&egrave;ne musicale dans les ann&eacute;es 60. Eclipse of the sun est un titre &laquo;culte&raquo; chez les collectionneurs et c&rsquo;est la premi&egrave;re fois qu&rsquo;il est r&eacute;&eacute;dit&eacute; en CD.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>MAYFIELD (Percy) :</strong> Un des meilleurs &laquo;crooners&raquo; du blues, Percy Mayfield (1920-84), voix de baryton suave au timbre embrum&eacute; qui cajole l&rsquo;auditrice, a connu son heure de gloire entre 1949 et 1952 avec des succ&egrave;s comme Please send me someone to love ou Strange things happening avant qu&rsquo;un accident de voiture ne le d&eacute;figure et alt&egrave;re sa voix. Mayfield se cantonnera alors presque exclusivement &agrave; un r&ocirc;le de compositeur, &agrave; la plume mordante, de blues et de ballades , en particulier pour Ray Charles (Hit the road,Jack). Leary blues est un de ses tout premiers disques.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>Mc CRACKLIN (Jimmy) :</strong> Jimmy (n&eacute; en 1921 &agrave; Saint Louis) est un des grands noms du blues de Oakland - San Francisco qui a grav&eacute; quelques classiques du blues et du Rock&rsquo;n&rsquo;Roll comme The walk. La premi&egrave;re carri&egrave;re de Jimmy (jusqu&rsquo;en 1957) est caract&eacute;ristique du son californien: voix l&eacute;g&egrave;rement voil&eacute;e, superbes entrelacs de piano et guitare, celle-ci ici jou&eacute;e par Robert Kelton dans Bad luck and trouble. Dans Baby don&rsquo;t you want to go?, Mc Cracklin est accompagn&eacute; du pianiste J.D. Nicholson pour une recr&eacute;ation tr&egrave;s fid&egrave;le de la mani&egrave;re de Walter Davis, un pianiste aujourd&rsquo;hui bien oubli&eacute; mais qui a largement marqu&eacute; ses contemporains.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>MERCY DEE : </strong>Un pianiste et chanteur incroyablement profond, Mercy Dee (1915-62) continue en fait apr&egrave;s la guerre l&rsquo;&eacute;cole texane dite de Santa Fe. Il est surtout connu pour avoir compos&eacute; One room country shack, un des plus grands classiques du blues, repris par tout le monde. Mais son oeuvre, d&eacute;sabus&eacute;e, nostalgique et fortement pessimiste, est globalement superbe avec des textes qui comptent parmi les meilleurs du blues de l&rsquo;apr&egrave;s-guerre comme ce rou&eacute; G.I. Fever qui est devenu un petit classique.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>MILBURN (Amos) :</strong> Le talent de Amos Milburn (1926-80) comprend plusieurs facettes : un chanteur direct et vibrant &agrave; la fa&ccedil;on des blues shouters; un formidable pianiste, h&eacute;ritier de l&rsquo;&eacute;cole du boogie-woogie des Pete Johnson et Albert Ammons qu&rsquo;il prolonge et affine; un grand compositeur de blues et de boogies. Entre 1949 et 1953, Amos est une des tr&egrave;s grandes vedettes du Rhythm &amp; Blues, &eacute;grenant succ&egrave;s sur succ&egrave;s, pr&eacute;sent dans toutes les salles des quartiers noirs et sur toutes les ondes. Nous le pr&eacute;sentons ici dans sa facette blues.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>MILTON (Roy) : </strong>Le &laquo;Grand-p&egrave;re du Rhythm &amp; Blues&raquo;, Roy Milton (1907-83) a connu une &eacute;norme popularit&eacute; parmi les Noirs entre 1945 et 1953 avec des &laquo;tubes&raquo; comme R.M. Blues, Milton&rsquo;s boogie ou ce puissant True blues. Il sera un des piliers de la sc&egrave;ne californienne pendant une petite d&eacute;cennie.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>PHILLIPS (Gene) :</strong> (1915-?). Cet excellent guitariste tr&egrave;s jazzy qui a migr&eacute; tr&egrave;s t&ocirc;t en Californie a &eacute;t&eacute; tr&egrave;s pr&eacute;sent durant les ann&eacute;es 40 dans la r&eacute;gion de Los Angeles, chantant et jouant notamment au sein de l&rsquo;orchestre de Jack Mc Vea comme c&rsquo;est le cas sur ce Ramblin&rsquo; woman.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>PRICE (Jesse) : </strong>Ce v&eacute;t&eacute;ran de Memphis a jou&eacute; de la batterie avec quantit&eacute; d&rsquo;artistes de blues ou de jazz, de Bessie Smith &agrave; Ella Fitzgerald. Il a form&eacute; ensuite son propre orchestre &agrave; Kansas City qui a un instant compris Charlie Parker. A l&rsquo;aff&ucirc;t de bons contrats, Jesse s&rsquo;est install&eacute; &agrave; Los Angeles en 1944, participant activement &agrave; la sc&egrave;ne locale.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>PULLUM (Joe) :</strong> (1901-65). Ce chanteur texan a enregistr&eacute; une belle oeuvre dans les ann&eacute;es 30, signant notamment la version d&eacute;finitive du standard Black gal. Comme beaucoup, il s&rsquo;est retrouv&eacute; (on pourrait dire: il s&rsquo;est &eacute;chou&eacute;) sur la C&ocirc;te Ouest durant la guerre et y a enregistr&eacute; son dernier disque que nous pr&eacute;sentons ici, chef-d&rsquo;oeuvre de d&eacute;senchantement laconique dans lequel il est accompagn&eacute; de Lloyd Glenn et de Gene Phillips.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>THOMAS (Jesse) : </strong>(1908-95). Jesse Thomas est un des liens essentiels entre le blues texan du d&eacute;but du si&egrave;cle et celui de Californie. Il a appris la guitare &agrave; son neveu Lafayette Thomas qui mar&shy;quera le blues californien de l&rsquo;apr&egrave;s-guerre. Il a grav&eacute; alors une oeuvre de tr&egrave;s haut niveau, singuli&egrave;re par sa sophistication: du country blues avec une touche du cabaret qui lui a valu le sobriquet de &laquo;Blues Troubadour&raquo;.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>THUNDER SMITH : </strong>Ce pianiste (Willie Smith) qui ouvre ce coffret s&rsquo;est adjoint les talents d&rsquo;un guitariste alors d&eacute;butant, Sam Hopkins en 1945-46. Ce dernier devenait &laquo;Lightnin&rsquo;&raquo; tandis que Willie &eacute;tait &laquo;Thunder&raquo;! Hopkins est d&rsquo;ailleurs pr&eacute;sent sur ce beau Los Angeles blues qui ouvre ce coffret. Smith n&rsquo;a malheureusement enregistr&eacute; qu&rsquo;une poign&eacute;e de tr&egrave;s beaux titres californiens avant de dispara&icirc;tre dans l&rsquo;obscurit&eacute;. Il serait d&eacute;c&eacute;d&eacute; en 1965.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>TURNER (Big Joe) :</strong> L&rsquo;arch&eacute;type du &laquo; blues shouter&raquo;, hurleur de blues d&rsquo;abord dans les caf&eacute;s de Kansas City o&ugrave; il chante en servant les boissons, Big Joe Turner (1911-85) gagne la c&eacute;l&eacute;brit&eacute; en participant avec Pete Johnson au c&eacute;l&egrave;bre concert Spirituals to Swing. Associ&eacute; aux pianistes de boogie woogie, il est au coeur du mouvement Rhythm &amp; Blues, gagne la C&ocirc;te Ouest d&egrave;s 1941 et laisse alors sa patte immanquable sur toute la musique californienne.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>WALKER (T-Bone) :</strong> (1909-75). Il a &eacute;t&eacute; un des cr&eacute;ateurs du blues texano-californien d&rsquo;apr&egrave;s guerre, apportant la fluidit&eacute;, la sensibilit&eacute; et le feeling d&rsquo;un Blind Lemon Jefferson qu&rsquo;il a accompagn&eacute; dans sa jeunesse, au sein d&rsquo;orchestres de Rhythm &amp; Blues. T-Bone Walker a consid&eacute;rablement marqu&eacute; le blues de l&rsquo;apr&egrave;s-guerre (B.B. King; Buddy Guy, Eric Clapton...) et cr&eacute;&eacute; une v&eacute;ritable &eacute;cole de guitaristes qui ont peu ou prou adopt&eacute; sa mani&egrave;re.</span>  <span class=Texte>&nbsp;</span>  <br /></p><span class=Texte><br /><strong>* * * * *</strong><br /></span>  <strong><em><span class=Texte>english notes</span></em></strong><br /><p align=justify><span class=Texte>A particular form of blues came out of California in the 1940's, a fusion of the soil-steeped sounds of Texas and the jazzy music of the chic cabaret clubs of the Pacific Coast.&nbsp; Electric guitar and piano fronting a rhythm section often with brass accompaniment - no, not the Chicago blues, but the particular sohisticated yet soulful style of the California blues, the most popular form among black record buyers.&nbsp; The major Californian artists changed the course of blues history, influencing the music which became the Chicago blues and paving the way to the Southern blues of today.</span><span class=Texte>This set will take the listener back to the Pacific coast in the 1940's, to the time when the Texas bluesmen had arrived to work in the shipyards and encountered the crooning songsters of &ldquo;Black Hollywood&rdquo;.&nbsp; A musical journey to the sources of a new style: the California blues.</span></p><br /><p align=justify><span class=Soustitre>GO WEST, BLACK MAN</span>  <br /><span class=Texte>It was no chance that the Second World War produced only two regional blues styles of any real originality: the new Chicago blues (the birth of which is covered in the double set Chicago Blues 1940-47 FA 150) and the California blues. Both areas saw a massive influx of black migrants from specific regions, bringing with them their hopes of a new life and their own particular brand of blues.&nbsp; Their music reflected both their historical roots and their new social aspirations.&nbsp; Although other cities such as Detroit, Cleveland and Cincinnati received large flows of migrants in the 1940's, they came from all over the South, and the urban electrified blues bands which they formed tended to imitate the Chicago and California sounds.&nbsp; If a line can be drawn from the Mississippi blues to the Chicago blues, then it was the Texan blues which gave birth to the California band style.&nbsp; The main pre-war black California artists were musicians and actors who came to work in the cinema industry, appearing or even starring in feature films&nbsp; and shorts made in Hollywood for a black audience, an area of film history still hardly documented today. Series of singing westerns such as Harlem On The Prairie used black actors to imitate the white westerns of Gene Autry or Roy Rogers (Western/Cowboy ballads and Songs FA 034), even to the extent of putting the black hero on a white horse!&nbsp; These movies were intended for the black cinemas but the Harlem On The Prairie series were also successful with white audiences, probably because the music swung.&nbsp; The black &ldquo;race&rdquo; movie industry thus supported a thriving local music scene, in which the blues was probably only one of many components.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Soustitre>THE SANTA FE LINE: TEXAS TO CALIFORNIA</span>  <br /><span class=Texte>This was how tens of thousands of black migrants reached California.</span>  <span class=Texte>After Pearl Harbour, in the winter of 1942 the United States found itself defenceless against the threat of the Japanese fleet off the Californian coast, even targeting Seattle and Portland with their bombs.&nbsp; Something had to be done to rebuild the American fleet - and fast.</span>  <span class=Texte>Enormous shipyards were constructed in the area around San Francisco and Los Angeles, but the local population was very small.&nbsp; There was only one way to find the necessary workforce and that was to bring them up from the South.&nbsp; Crossing over the Rockies in winter was then impossible, so Mississippi was not a feasible source. So California attracted workers from Texas, Oklahoma or from the west of Louisiana, who arrived in the shipyards via the old Santa Fe railroad, traversing the abandoned mining towns of Arizona and New Mexico.</span>  <span class=Texte>The working population of California was therefore predominantly Texan, both black and white.</span>  <span class=Texte>The Texas blues of Dallas and Houston had hardly evolved since Blind Lemon Jefferson and the Houston ghetto pianists. </span><br /><span class=Texte>&nbsp;It had many features which set it apart from other blues forms. The guitar was played flamenco-style, thumb or fingers striking the bass strings followed by rapid arpeggios, pausing to let the sound sing out before launching into the next phrase. It was a style far removed from the hypnotic strumming of the Delta musicians or the amazing fingerpicking of the Carolines. Also, the lyrics and themes of Texas blues show the strong influence of the North Mexico tradition straight from Andalucia - complex, passionate and highly personal with frequently devastating humour.&nbsp; The very personification of the Texas guitar blues was Lonnie Johnson (Lonnie Johnson FA 262), whose talent, elegance and musicianship provided a model for all who followed.&nbsp; In his many accompaniments to Texas Alexander, one of the fathers of the Texas blues, one can hear how Johnson influenced dozens of Texas bluesmen, including Lightnin&rsquo; Hopkins.</span>  <span class=Texte>One of these was guitarist T-Bone Walker, who played all over the State, recorded from the age of 19, and then went on to become the archetypal urban California bluesman of the 1940's.</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Soustitre>TEXAS JUKE JOINTS AT THE EDGE OF THE PACIFIC OCEAN</span><br /><span class=Texte>Thus the Southern black migrants who flooded into California brought with them their own&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; brand of raw, earthy and passionate blues.&nbsp; But unlike what happened in Chicago, where the &ldquo;downhome&rdquo; blues took over and destroyed the urbane and sophisticated musical style put in place by Lester Melrose in the 1930's,&nbsp; the Texas blues seemed ready to adapt to its surroundings and rapidly become diluted (or at least apparently so) in the soil of California. The first 9 sides on CD 1 are downhome blues by recent migrants, full of the sweaty atmosphere of the rural juke-joints, with guitars more or less in tune and the rasping timbres poles apart from the smoothness of the black big band singers, but brimful of feeling.</span>  <span class=Texte>Again, just like the dream of Chicago for the Mississippi migrants, the paradise of California proved to be a mirage for many of the Texan blacks who came to seek their fortune and a place in society in the West Coast sunshine.&nbsp; The country shacks were replaced by teeming, unhealthy ghettos.&nbsp; Legally, segregation did not exist but in reality it was everywhere. Oakland rapidly became a mainly black suburb of San Francisco, full of broken dreams. New arrivals Thunder Smith and Black Diamond, voices full of disillusion, sing of home in Louisiana and leaving Texas &ldquo;my baby by my side&rdquo;.&nbsp; Soon they realise &ldquo;I got no business here&rdquo; and &ldquo;I can&rsquo;t be satisfied&rdquo;.&nbsp; </span><br /><span class=Texte>Joe Pullum&rsquo;s gloomy post-war &ldquo;I Came To California&rdquo; closes the set, summarising all the hopes and frustrations of the the migrant blacks.&nbsp; As is common in blues lyrics, troubles in daily life are symbolised by the anonymous &ldquo;mistreatin&rsquo; woman&rdquo;, and protest against social conditions disguised in the proud threat of violent action. Listen to Joe Pullum and substitute white supremacy for the &ldquo;little woman&rdquo;.</span>  <span class=Texte>Others remain rural in style but have a more optimistic tone.&nbsp; The obscure but very influential Jesse Thomas;&nbsp; Smokey Hogg with a magnificent bouncing blues, hopping in and out of tune and metre, and superbly accompanied by chic cabaret pianist Hadda Brooks! And Jimmy McCracklin who adapts Sweet Home Chicago to suit the geography of California with barrelhouse piano accompaniment.&nbsp; Three years later, McCracklin would be part of a smooth, urban and jazzy trio playing Bad Luck And Trouble, a version of Doctor Clayton&rsquo;s Unlucky One (Chicago Blues 1940-47 FA 150) with the brilliant and little-known pioneer of California blues guitar, Robert Kelton.</span>  <br /><span class=Texte>&nbsp;</span><br /><span class=Soustitre>CALIFORNIA BLUES, AN ORIGINAL MIXTURE</span>  <br /><span class=Texte>It was surprising, but the cocktail jazz of such as Nat King Cole, who was then a big star on the West Coast, appeared to absorb Texas piano and guitar players without any difficulty. After a few years, a unique style of blues shorn of frills yet sophisticated, earthy yet urban, direct yet mannered, had developed - particularly in the Los Angeles area.&nbsp; The major exponents of this style are singers such as Charles Brown, Amos Milburn, Floyd Dixon, Little Willie Littlefield and somewhat later Ray Charles, all Texan immigrants who had come to seek their fortune and a place in society in the Californian sun.&nbsp; The new blues drew an enthusiastic response from young blacks (particularly women).&nbsp; It was the most popular style of blues between 1945 and 1955, as the music seemed to reflect the Afro-American aspirations to social standing and a better life.&nbsp; It was also true that the musicians, as Charles Brown pointed out, often played in whites-only establishments, which explains why they sang with impeccable diction and wrote innocuous lyrics without any of the double entendre of the blues of the juke-joints and ghetto bars.</span>  <span class=Texte>This classy Southern California style was one into which the blues shouters, the big band hollerers of the blues, fitted very easily.&nbsp; Big Joe Turner and Jimmy Witherspoon sang in small combos with brass backing and quickly became prominent on the California scene. The West Coast as a matter of course also became a crucible for post-war R &amp; B as Alain Tomas describes in Roots Of Rhythm &amp; Blues FA 050.&nbsp; Bands such as Roy Milton, Jimmy Liggins or Joe Lutcher are, just as Charles Brown and Amos Milburn, at the very crossroads of R &amp; B and the often indistinguishable new California blues.</span>  </p><p align=justify class=MsoNormal><span class=Texte>Perhaps the true difference in California blues lies in the prominence of the Texas guitar playing its arpeggios in front of a band made up of piano, bass, drums and a line of brass. No-one represents this style better than Aaron T-Bone Walker.&nbsp; Into music from childhood, T-Bone was one of those who led the great Texas bluesman Blind Lemon Jefferson and sang and danced in a touring troop. In 1929, under the name of Oak Cliff T-Bone, he made his first records in the classic Texas style of the Dallas region.&nbsp; After a gig with Cab Calloway, he discovered jazz.&nbsp; Much taken with the single note guitar playing of Lonnie Johnson, he decided to improve his own playing by taking lessons with the teacher of Charlie Christian! He was playing in Los Angeles Swing bands in 1934 and was one of the first to use electric amplification in the blues.&nbsp; He did record T-Bone Blues with Les Hite in 1940, but it was his association with the new California label Capitol from 1942 that made him one of the stars of the new West Coast blues, with its languid tempos, sentimental compositions and other worldly atmosphere.&nbsp; T-Bone&rsquo;s warm, velvety tones against a cushion of brass and his fluid, limpid guitar work appealed to young blacks who went for him in a big way.&nbsp; His charisma and cultivated manner made him the role model for a migrant black public thirsting after success.&nbsp; T-Bone Walker&rsquo;s influence on the development of post-war blues was therefore enormous.&nbsp; Both his personality and his guitar playing inspired most of the great post-war guitarists from B.B. King to Buddy Guy and on to Stevie Ray Vaughan.&nbsp; In this set, Pee Wee Crayton, Clarence Gatemouth Brown and even Lowell Fulson (who never lost his rural roots) are all directly influenced by T-Bone.&nbsp; Saunders King and Gene Phillips represent a slightly earlier generation who had arrived in California very early on, suffered all the problems, and despite never quite making it nonetheless paved the way for their successors. Lastly, it is clear that Nat King Cole&rsquo;s guitarists, Johnny and Oscar Moore, were role models for many of the West Coast players.&nbsp; One of the major features of the California blues is the vital and continuing influence of jazz.</span></p><p align=justify>  <span class=Soustitre>LARGE LOCAL MARKET</span>  <br /><span class=Texte>California in the 1940's was no different from elsewhere: no blues style could hope to make its mark and above all survive without assistance from independent producers, record labels and specialist radio stations.</span>  <span class=Texte>The massive migration from Texas to the West Coast created a local market for the traditional music of the new immigrants.&nbsp; Radio stations were set up for them, playing blues and R &amp; B.&nbsp; As the major record companies were incapable of realising the scale of the interest and the size of the new market, the immediate post-war period saw numerous small independents spring up (some of them run by hillbillies and even by blacks - a veritable revolution) releasing records by new artists for the relatively prosperous black audience of Southern immigrants.&nbsp; In California, Capitol was set up in the Spring of 1942 by three bold entrepreneurs who saw that there was no record label on the the West Coast and invested all their money in the new label: composer Johnny Mercer, film producer Buddy De Sylva and a local record merchant, Glenn Wallichs.&nbsp;&nbsp; The venture quickly became profitable, with much success in the fields of jazz-influenced pop and country music.&nbsp; Blues and R &amp; B scarcely featured in the catalogue, with the major exception of T-Bone Walker. Small labels catering for a black audience also enriched the California scene. Jack Lauderdale, Art Rupe (whose enterprising innovations are described in Rock &lsquo;n&rsquo; Roll 1947), Bob Geddins, the Bihari brothers - all these recorded hundreds of artists and created the bedrock for the post-war California blues labels (RPM, Big Town, Down Town, Echo, Elko, Club, J.R. Fullbright, Murray, Speed...). Last but not least, a very important though hardly appreciated role was played by the musical directors/arrangers, the true heroes of countless recording sessions such as bandleader and saxophonist Maxwell Davis who is present on many of the tracks on this set. </span>  <br /><span class=Texte>Adapted by <em>Frank Robinson</em></span> <span class=Texte>from the French text of <em>G&eacute;rard HERZHAFT</em>, author of &ldquo;Encyclopedia of the Blues&rdquo; (Arisana Press)</span>&nbsp;  <br /><span class=Texte>With grateful thanks to Tom Mazzolini and Marc Redenac for their help in compiling this set.</span>  <br /><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS, </span><span class=Texte>GROUPE FRÉMEAUX COLOMBINI SA, 1999.</span>  <span class=Texte>&nbsp;</span>  <br /></p><br /><span class=Soustitre>DISCOGRAPHIE  &nbsp;<br /></span><span class=Soustitre2>CD 1</span>    <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>01. THUNDER SMITH:</strong> L. A. blues&nbsp; 54-1 IM5210 (Wilson Smith)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;53</span>  <br /><span class=Texte><strong>02. GUITAR SLIM GREEN:</strong> Alla blues&nbsp; F-123-A (Curtis Jones)&nbsp; 3&rsquo;32</span>  <br /><span class=Texte><strong>03. BLACK DIAMOND:</strong> T.P. Railer&nbsp; JB-7-847 (James Butler)&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;42</span>  <br /><span class=Texte><strong>04. SIDNEY MAIDEN:</strong> Eclipse of the sun&nbsp; DT-2005 (Maiden)&nbsp;&nbsp;&nbsp; 2&rsquo;33</span>  <br /><span class=Texte><strong>05. SONNY BOY JOHNSON:</strong> Desert blues&nbsp; Mu-505-A (Johnson)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;58</span>  <br /><span class=Texte><strong>06. JESSE THOMAS: </strong>Another friend like me&nbsp; 2-Club (Thomas)&nbsp;&nbsp; 2&rsquo;24</span>  <br /><span class=Texte><strong>07. SMOKEY HOGG:</strong> Worryin&rsquo; mind&nbsp; MM-757 (Hogg)&nbsp;&nbsp; 2&rsquo;37</span>  <br /><span class=Texte><strong>08. MERCY DEE:</strong> G.I. Fever&nbsp; 11-001-B (Walton)&nbsp; 2&rsquo;49</span>  <br /><span class=Texte><strong>09. JIMMY Mc CRACKLIN:</strong> Baby, don&rsquo;t you want to go?&nbsp; APP-3002 (Arnold)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;07</span>  <br /><span class=Texte><strong>10. NAT &laquo;KING&raquo; COLE:</strong> Gone with the draft&nbsp; DLA-2257-A (Cole-Prince)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;39</span>  <br /><span class=Texte><strong>11. JIMMY Mc CRACKLIN:</strong> Bad luck and trouble&nbsp; CAV-128 (David Rosenbaum)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;14</span>  <br /><span class=Texte><strong>12. CECIL GANT:</strong> Special delivery&nbsp; V-192 (Gant) 3&rsquo;15</span>  <br /><span class=Texte><strong>13. IVORY JOE HUNTER:</strong> Reconversion blues&nbsp; APS1036&nbsp; (Hunter)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;08</span>  <br /><span class=Texte><strong>14. CHARLES BROWN:</strong> It ain&rsquo;t gonna be like that&nbsp; EXC-1071-2 (Laine-Torm&eacute;)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;48</span>  <br /><span class=Texte><strong>15. BIG JOE TURNER:</strong> Playboy blues&nbsp; NSC147 (Turner) 2&rsquo;39</span>  <br /><span class=Texte><strong>16. T-BONE WALKER: </strong>I&rsquo;m in an awful mood&nbsp; 504-2 (Walker)&nbsp;&nbsp; 2&rsquo;44</span>  <br /><span class=Texte><strong>17. AMOS MILBURN: </strong>Operation blues&nbsp; RR80-1 (Walter Davis)&nbsp; 2&rsquo;42</span>  <br /><span class=Texte><strong>18. HADDA BROOKS:</strong> Blues in B-Flat&nbsp; (Brooks) 2&rsquo;33</span>  <br /><span class=Texte><strong>(1) </strong>Thunder Smith, vcl/pno; Lightnin&rsquo; Hopkins, g; dms. Los Angeles, 15 ao&ucirc;t 1947</span>  <br /><span class=Texte><strong>(2)</strong> Normal &laquo;Guitar Slim&raquo; Green, vcl/g; B. Turner, hca. Los Angeles, 1948</span>  <br /><span class=Texte><strong>(3)</strong> James Butler, vcl/g. Oakland, 1948</span>  <br /><span class=Texte><strong>(4) </strong>Sidney Maiden, vcl/ prob. hca or unknown, hca; K.C. Douglas, g. Oakland, 1948</span>  <br /><span class=Texte><strong>(5) </strong>Sonny Boy Johnson, vcl/hca; Beverly Scott, g; Ernest Mc Clain, g; Dig Moore, pno. Los Angeles, 1948</span>  <br /><span class=Texte><strong>(6)</strong> Jesse Thomas, vcl/g. Los Angeles, 1948</span>  <br /><span class=Texte><strong>(7) </strong>Smokey Hogg, vcl/g; Hadda Brooks, pno; Bill Davis, bs; Al Wichard, dms. Los Angeles, 10 d&eacute;cembre 1947</span>  <br /><span class=Texte><strong>(8) </strong>Mercy Dee Walton, vcl/pno. Fresno, D&eacute;cembre 1948</span>  <br /><span class=Texte><strong>(9) </strong>Jimmy Mc Cracklin, vcl/pno ou bien J.D. Nicholson, pno. Los Angeles, 1945</span>  <br /><span class=Texte><strong>(10) </strong>Nat &laquo;King&raquo; Cole, vcl/pno; Oscar Moore, g; Wesley Prince, bs. Los Angeles, 6 d&eacute;cembre 1940</span>  <br /><span class=Texte><strong>(11)</strong> Jimmy Mc Cracklin, vcl/pno; Robert Kelton, g; bs. Oakland, 1948</span>  <br /><span class=Texte><strong>(12) </strong>Cecil Gant, vcl/pno; orchestre. Los Angeles, novembre 1945</span>  <br /><span class=Texte><strong>(13) </strong>Ivory Joe Hunter, vcl/pno; Pee Wee Crayton, g; Ernie Royal, tpt; John Patterson, t-sax; Charlie Oden, bs; Chuck Walker, dms. San Francisco, 1946</span>  <br /><span class=Texte><strong>(14)</strong> Charles Brown, vcl/pno; Johnny Moore, g; Oscar Moore, g; Eddie Williams, bs. Los Angeles, janvier 1947</span>  <br /><span class=Texte><strong>(15)</strong> Big Joe Turner, vcl; Camille Howard, pno; Teddy Bunn, g; Russell Jacquet, tpt; Wild Bill Moore, t-sax; Lou Simon, t-sax; S. henry, bs; Walter Murden, dms. Los Angeles, 30 janvier 1946</span>  <br /><span class=Texte><strong>(16)</strong> T-Bone Walker, vcl/g; Lloyd Glenn, pno; Al Killian, tpt; Jack Mc Vea, t-sax; Frank Clarke, bs; Rabon Tarrant, dms. Hollywood, d&eacute;cembre 1946</span>  <br /><span class=Texte><strong>(17)</strong> Amos Milburn, vcl/pno; Maxwell Davis, t-sax/leader; prob. Willard Mc Daniel, pno; Chuck Norris, g; Vernon Smith, tpt; Marshall Royal, a-sax; Floyd Turnham, b-sax; Roy Hamilton, bs; Henry Williams, dms. Los Angeles, 3 d&eacute;cembre 1946</span>  <span class=Texte><strong>(18) </strong>Hadda Brooks, pno; Jimmy Black, a-sax; Teddy Bunn, g; Basie Day, bs; Al Wichard, dms. 28 avril 1945</span>  <span class=Texte>&nbsp;</span>  <span class=Texte><br /></span><span class=Soustitre2>CD 2</span>  <span class=Texte>&nbsp;</span>  <br /><span class=Texte><strong>01. T-BONE WALKER: </strong>Plain old down home blues&nbsp; 684-2 (Walker)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;06</span>  <br /><span class=Texte><strong>02. SAUNDERS KING:</strong> S.K. Groove&nbsp; (Riagamarole-Mooney)&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;04</span>  <br /><span class=Texte><strong>03. LOWELL FULSON:</strong> Television blues&nbsp; DB-ST133-A (Fulson) 3&rsquo;00</span>  <br /><span class=Texte><strong>04. CLARENCE &laquo;GATEMOUTH&raquo; BROWN: </strong>Gatemouth boogie&nbsp; AL-230-6 (Brown)&nbsp; 2&rsquo;30</span>  <br /><span class=Texte><strong>05. PEE WEE CRAYTON:</strong> Central Avenue blues&nbsp; MM-925-3 (Crayton-Taub)&nbsp;&nbsp;&nbsp; 2&rsquo;41</span>  <br /><span class=Texte><strong>06. GENE PHILLIPS: </strong>Ramblin&rsquo; woman&nbsp; MM-763-3 (Phillips)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;52</span>  <br /><span class=Texte><strong>07. CHARLES BROWN:</strong> Soothe me&nbsp; EXC-1222 (Greene)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;35</span>  <br /><span class=Texte><strong>08. JIMMY WITHERSPOON:</strong> Please stop playing those blues&nbsp; 821-A (Demetrius-Moore)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;55</span>  <br /><span class=Texte><strong>09. AMOS MILBURN:</strong> I&rsquo;m gonna leave you (Milburn)&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;25</span>  <br /><span class=Texte><strong>10. FLOYD DIXON: </strong>Prairie dog hole&nbsp; SU-191 (Hurley)&nbsp;&nbsp;&nbsp; 2&rsquo;46</span>  <br /><span class=Texte><strong>11. LITTLE WILLIE LITTLEFIELD: </strong>Little Willie&rsquo;s boogie&nbsp; ACA1031 (Littlefield)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;56</span>  <br /><span class=Texte><strong>12. LLOYD GLENN: </strong>That other woman&rsquo;s gotta go&nbsp; IM-143-1 (G. Carter)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;58</span>  <br /><span class=Texte><strong>13. PERCY MAYFIELD: </strong>Leary blues&nbsp; SU-230 (Mayfield)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;56</span>  <br /><span class=Texte><strong>14. ROY MILTON: </strong>True blues&nbsp; Sp510 (Milton)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;48</span>  <br /><span class=Texte><strong>15. JIMMY LIGGINS:</strong> Troubles goodbye&nbsp; (Liggins)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;40</span>  <br /><span class=Texte><strong>16. JESSE PRICE: </strong>Jump it with a shuffle&nbsp; 1774-3 (Dan Baxter)&nbsp;&nbsp;&nbsp; 2&rsquo;46</span>  <br /><span class=Texte><strong>17. JOE LUTCHER: </strong>No name boogie&nbsp; 2595 (Lutcher)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;54</span>  <br /><span class=Texte><strong>18. JOE PULLUM:</strong> I came to California (My woman)&nbsp; 267-A (Pullum)&nbsp;&nbsp;&nbsp; 2&rsquo;51</span>  <br /><span class=Texte><strong>(1)</strong> T-Bone Walker, vcl/g; Willard Mc Daniel, pno; Jack Trainer, tpt; Bumps Myers, t-sax; Billy Hadnott, bs; Oscar Lee Bradley, dms. Los Angeles, 18 d&eacute;cembre 1947</span>  <br /><span class=Texte><strong>(2) </strong>Saunders King, g; Johnnie Cooper, pno; Sammy Deane, tpt; Eddie Taylor, t-sax; Joe Holder, bs; Bernard Peters, dms. San Francisco, juin 1942</span>  <br /><span class=Texte><strong>(3)</strong> Lowell Fulson, vcl/g; King Solomon, pno; Floyd Montgomery, bs; Count Carson, dms. Oakland, automne 1948</span>  <br /><span class=Texte><strong>(4) </strong>Clarence &laquo;Gatemouth&raquo; Brown, g; Maxwell Davis, t-sax/leader; Willard Mc Daniel, pno; Chuck Norris, g; Vernon Smith, tpt; Marshall Royal, a-sax; Floyd Turnham, b-sax; Roy Hamilton, bs; Henry Williams, dms.Los Angeles, 21 ao&ucirc;t 1947</span>  <br /><span class=Texte><strong>(5) </strong>Pee Wee Crayton, vcl/g; David Lee Johnson, pno; Buddy Floyd, t-sax; Bill Davis, bs; Candy Johnson, dms. Los Angeles, automne 1948</span>  <br /><span class=Texte><strong>(6) </strong>Gene Phillips, vcl/g; Lloyd Glenn, pno; horns; Bill Davis, bs; Al Wichard, dms. Los Angeles, automne 1948</span>  <br /><span class=Texte><strong>(7)</strong> Charles Brown, pno; Johnny Moore, g; Oscar Moore, g; Eddie Williams, bs. Los Angeles, 1948</span>  <br /><span class=Texte><strong>(8) </strong>Jimmy Witherspoon, vcl; Jay Mc Shann, pno/leader; Tiny Webb, g; Percy Gabriel, bs; Jesse Price, dms. Los Angeles, 7 mai 1947</span>  <br /><span class=Texte><strong>(9) </strong>Amos Milburn, vcl/pno; Maxwell Davis, t-sax/leader; Willard Mc Daniel, pno; Chuck Norris, g; Vernon Smith, tpt; Marshall Royal, a-sax; Floyd Turnham, b-sax; Roy Hamilton, bs; Henry Williams, dms. Los Angeles, 19 novembre 1947</span>  <br /><span class=Texte><strong>(10)</strong> Floyd Dixon, vcl/pno; Tiny Webb, g; Eddie Williams, bs; Ellis Walsh, dms. Los Angeles, 1947</span>  <br /><span class=Texte><strong>(11)</strong> Little Willie Littlefield, pno; dms. prob. Houston, Tx. 1948</span>  <br /><span class=Texte><strong>(12)</strong> Lloyd Glenn, pno/leader; Geraldine Carter, vcl; Gene Phillips, g; Gene Porter, t-sax; Marshall Royal, a-sax; Jake Porter, tpt; Art Edwards, bs; Bill Street, dms. Los Angeles, 26 d&eacute;cembre 1947</span>  <br /><span class=Texte><strong>(13)</strong> Percy Mayfield, vcl; Maxwell Davis, t-sax/leader; Willard Mc Daniel, pno; Chuck Norris, g; Vernon Smith, tpt; Marshall Royal, a-sax; Floyd Turnham, b-sax; Roy Hamilton, bs; Henry Williams, dms. Los Angeles, novembre 1947</span>  <br /><span class=Texte><strong>(14) </strong>Roy Milton, vcl/dms; Camille Howard, pno; Hosea Sapp, tpt; William Gaither, t-sax; Earl Simms, a-sax; Clarence Jones, bs. Los Angeles, 8 mars 1947</span>  <br /><span class=Texte><strong>(15)</strong> Jimmy Liggins, vcl/g; Fred Jackson, pno; Harold Land, t-sax; Charles Ferguson, t-sax; James Dedman, a-sax; Walton Willis, tpt; Jonathan Bagsby, bs; Leon Petties, dms. Hollywood, 9 septembre 1947</span>  <br /><span class=Texte><strong>(16)</strong> Jesse Price, vcl; Nappy Lamare, g; Tommy Linehan, pno; Pete Dailey, cnt; Clint Neagley, a-sax; Eddie Miller, t-sax; Dave Cavanaugh, t-sax; Bob Poland, b-sax; Harry Babasin, bs; Frank Carlson, dms. Los Angeles, 20 mars 1947</span>  <br /><span class=Texte><strong>(17) </strong>Joe Lutcher, a-sax/leader; L.H. Morrow, pno; Ulysses Livingstone, g; Karl George, tpt; Bill Ellis, t-sax; Leon Beck, b-sax; Bill Cooker, vcl/bs; Booker Hart, dms. Hollywood, 21 ou 24 novembre 1947</span>  <br /><span class=Texte><strong>(18) </strong>Joe Pullum, vcl; Lloyd Glenn, pno; prob. Gene Phillips, g; bs; dms. Los Angeles, prob. automne 1948.</span>  <span class=Texte>&nbsp;</span>  <span class=Texte><br /></span>  <p align=justify class=MsoNormal><span class=Source>CD California Blues &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont,&nbsp;CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p>"
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SEASON OF SOULS

BOB LENOX

CD Version

€19.99

Digital Version

€9.95

HILLBILLY BLUES

ANTHOLOGIE 1928-1946

CD Version

€29.99

Digital Version

€19.95

CALIFORNIA BLUES

ANTHOLOGIE 1940 - 1948

CD Version

€29.99

Digital Version

€19.95

JACK BON

MIXED BLUES

CD Version

€19.99

Digital Version

€9.95