Fred Chapellier voit le jour en 1966 à Metz, (France). Plongé dans le rock et le blues dès le plus jeune âge grâce à ses frères ainés, c'est vers 1978 qu'il décide d'apprendre la batterie, instrument qui l'attire particulièrement. Après 3 ans de pratique, un beau jour de 1981, rendant visite à un ami, il s'essaye à la guitare...Eureka...C'est la révélation. Il troque immédiatement sa batterie contre une copie Gibson. Une histoire commence, la guitare ne le quittera plus jamais. Fort d'un très bon bagage rythmique, Fred travaille plusieurs heures par jour pendant plus de dix ans. Il s'essaye à divers styles musicaux mais revient toujours à ce qu'il appelle la base :"Le Blues".! C'est au début des années '90 qu'il forme son premier blues band "Kashmir" avec lequel il tournera 4 ans. Puis viennent les années "Men in Blue" ou Fred partage le chant et la guitare avec le Franco Américain "Big Joe Barret". Deux cd 4 titres verront le jour en 1997 et 1998. .. ....Mais Fred se sent rapidement à l'étroit.. .. et souhaite reprendre les commandes de sa propre musique. Dans sa recherche pour une plus grande liberté de créativité, en 1999, il décide de partir de son côté pour former son groupe : « Fred Chapellier Blues Band » suivi par le duo basse/batterie de Men in Blue, Abder Benachour et Pat Machenaud. Fred en profite pour recruter un jeune pianiste Damien Cornelis. Ensemble, ils enregistreront deux albums « Blues Devil » sorti en 2003 sous le label Mosaic Music et « l'œil du blues » en 2005. Albums sur lesquels on retrouvera aussi l'excellent Johan Dalgaard (actuel clavier de Johnny Hallyday). Ainsi que deux invités, messieurs Miguel.M et Lorenzo Sanchez. Les cuivres étant assurés par Boney Fields (Lucky Peterson, Luther Allison...) et sa section. .. ....Les critiques sont plus que.. .. rassurantes à tel point qu'en 2004, à l'occasion des « Trophées France Blues » Fred sera récompensé en recevant les prix: « révélation blues » et « meilleur guitariste » de l'année. .. ....Fred .. ..ne cesse de faire parler de lui et, devenu musicien professionnel, il accompagnera, en parallèle à son propre groupe, différents artistes de blues comme :Don Ray Johnson, Boney Fields, Audrey Madison, Neal Black (avec qui il travaillera par la suite sur divers projets et albums),Tom Principato, et bien d'autres géants du Blues (A ses yeux…). Début 2007, fort de son expérience du studio, Fred est plébiscité pour enregistrer, co-produire et mixer les albums de Leadfoot Rivet "Greyboy Blues", Lorenzo Sanchez "Domingo", Tony Coleman (Batteur de BB King) "Bjr Mr Coleman" ou encore "Handfull of Rain" de son pote Neal Black. .. ....La même année,.. .. Fred reprend contact avec Jean Roussel rencontré lors de sessions pour divers artistes. Jean Roussel, fameux organiste, arrangeur –compositeur, mais aussi grand producteur qui a réalisé de nombreux albums pour de grands artistes : Cat Stevens, Bob Marley, Police, Roy Buchanan, 10CC, Thin Lizzy (entre autres…). .. ....Fred a en tête depuis quelques années, de rendre hommage à Roy Buchanan.. .. SON guitar-hero, avec qui Jean a travaillé dans les années 70 (album "you're not alone"). …! Il débute les sessions et enregistre les bases rythmiques et les guitares solo dans son « Blue House studio » à Châlons en Champagne ou il vit. Mais pour Fred, cet hommage doit aller plus loin. Il va ainsi faire appel à ses amis : Tom Principato, Neal Black, Miguel M, Leadfoot Rivet pour que la fête soit complète. Et pour couronner le tout, Billy Price (Chanteur du groupe de Roy Buchanan de 1972 à 1976) accepte de chanter sur l'album . Fred et Jean terminent le travail de production dans la région parisienne au « Shakty Studio », cette fois çi sous la férule de Roussel qui officie derrière la console. Fred composera pour l'occasion le magnifique "Blues for Roy" largement plébiscité par la presse et les radios. Le produit fini sera aussitôt publié en Europe par « Dixiefrog » et aux USA par « Majestic records » il est dans les bacs depuis novembre 2007 sous le titre « Fred Chapellier & Friends – A Tribute To Roy Buchanan ». .. ....Au fil du temps.. .. et durant les sessions d'enregistrement, une grande amitié nait entre Fred et Billy Price, à tel point que les deux hommes décident de jouer ensemble sur scène, ce qu'ils font une première fois en novembre 2007, puis en avril et juillet 2008, en France mais aussi en juin et septembre 2008 aux Etats-Unis. L'osmose est telle qu'ils décident d'écrire des chansons ensemble en vu d'un album en commun. Six mois plus tard, et les chansons composées, Fred s'envole pour Pittsburgh Pensylvannie,ou ils enregistrent "Night Work" écrit en majeure partie par leurs soins. Jeff Ingersoll patron du label Américain "Bonedog Records" décide de co-produire l'opus. Les deux hommes se feront un immense plaisir en invitant Otis Clay (un des rois de la soul Américaine) et ses deux excellentes choristes, sur 4 titres, ainsi que Mark Wenner "the Nighthawks" à l'harmonica. .. ....Cet album, sous les noms Billy Price & Fred Chapellier intitulé "Night Work",.. .. sort sous le label Dixiefrog le 12 mars 2009. Les critiques sont excellentes des deux côtés de l'Atlantique. Night Work prendra la première place du Powerblues dans le magazine X.Roads en France et entrera en 5ème position des blues charts Américains pour se hisser à la première place durant plusieurs semaines. .. ....Fred est enfin reconnu, .. ..non seulement par les Européens mais aussi par le public Américain qui n'en revient pas de voir ce "little Frenchy" leur donner autant de plaisir. .. ....Eté 2009, Fred recrute le pianiste/organiste.. .. Renaud Cugny . .."En plus de la tendance naturelle qu'il a pour jouer le blues et le rock, s'ajoute le fait que Renaud est un des rares en France a utiliser un véritable Hammond B3, ça fait vraiment une grosse différence"... Fred". .. ....Début octobre 2009,.. .. Fred est contacté par un ami (ingénieur du son Parisien), qui lui propose de travailler avec Jacques Dutronc qui prépare une nouvelle tournée. Fred accepte évidemment l'invitation et passe 15 jours en Corse dans le repère du Gentleman....(pas cambrioleur). Le courant passe très bien entre les deux hommes, à tel point que Dutronc propose à Fred de partir en tournée avec lui. Certaines choses ne se refusant pas, Fred accepte et se voit engagé pour une année de travail avec JD! Un cd & dvd "live au zénith" sortirons le 22 novembre 2010. A suivre... .. ....L'agenda : .. ....2010 : .. ..FRED EN TOURNEE DU 8 JANVIER AU 12 SEPTEMBRE 2010 AVEC JACQUES DUTRONC. .. ....Mai 2010: .. .. Sortie du coffret CD Live + DVD Live Billy Price & Fred Chapellier "Night Work tour". .. ....Octobre 2010: .. .. Sortie de l'album "2000-2005 The French Years", qui est une compilation des meilleurs titres de "blues devil" et "l'oeil du blues". Fred à, pour l'occasion, réenregistré les guitares et les voix et bien sûr tout remixé. .. ....Début 2011 : .... Enregistrement d'un futur nouvel album. .. .... + Concerts toute l'année.. .. .. ..............
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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
Please email me at Info@Bmansbluesreport.com
I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
Please email me at Info@Bmansbluesreport.com
Friday, November 11, 2011
Fur Peace Ranch - Jorma Kaukonen
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Labels:
Jorma
HAUNTING, HYPNOTIC GROOVES FROM ICONOCLASTIC TRANCE BLUESMAN OTIS TAYLOR
HAUNTING, HYPNOTIC GROOVES FROM
ICONOCLASTIC TRANCE BLUESMAN OTIS TAYLOR
Otis Taylor’s Contraband features Cassie Taylor, Larry Thompson, Anne Harris, Jon Paul Johnson, Chuck Campbell, Ron Miles, The Sheryl Renee Choir and more
BOULDER, Colo. — Otis Taylor isn’t defined by any single category. A musical alchemist and a true innovator, Taylor has never been afraid to experiment beyond the blues tradition. He’s a master craftsman who has created his own signature “trance blues” style by melding haunting guitar and banjo work, syncopated rhythms and a combination of gruff vocals, shouts and yells with raw passion.
“When I sing, I just do what I do,” Taylor says. “Whatever comes out — that’s the way I leave it. And if I make a mistake, I leave it in. I like to keep the emotion.” Otis Taylor’s Contraband is evidence of that. Set for release February 13, 2012, on Telarc, a division of Concord Music Group, Taylor’s new album finds the artist on familiar thematic terrain: love, social injustices, personal demons and war.
The album takes its title from an article that appeared in the May/June 2011 issue of Preservation Magazine about runaway slaves who during the American Civil War escaped to the Union lines at Fort Monroe, Va.. Known as “contraband,” they lived in camps where conditions were often worse than life on the plantation.
Otis Taylor’s Contraband isn’t just speaking to the African American experience, but to the entire human experience. “I’m not really a protest singer or even a very political person,” says Taylor. “I just try to tell an interesting story and let people interpret it as they wish.”
On Otis Taylor’s Contraband, the iconoclastic bluesman is reunited with several longtime collaborators including the supple-toned Ron Miles on cornet; pedal steel guitarist Chuck Campbell from American Sacred Steel gospel group the Campbell Brothers; djembe player Fara Tolno, a master drummer born in Guinea, West Africa; fiddler Anne Harris from Chicago, Ill.; and the Sheryl Renee Choir. Bass is handled by Taylor’s daughter Cassie and Todd Edmunds. Rounding out the band are Jon Paul Johnson on guitar, Brian Juan on organ, and Larry Thompson, former house drummer for Colorado’s world-renowned Caribou Ranch recording studio.
The recording took an ominous turn in April 2010 when Taylor became victim of a serious illness and had to undergo major surgery. “I found out that I had a cyst connected to my liver and my spine,” he says. “I’ve always had a bad back, but the cyst was as big as a softball and it was pushing on the nerves in my spine. It was a pretty serious thing. So I went into the studio three days before the operation and recorded seven acoustic songs . . . just in case. If you listen to parts of the album carefully, you can tell I was in excruciating pain.”
Otis Taylor’s Contraband offers 14 compelling originals. “The Devil’s Gonna Lie,” a rousing showcase for the entire band, opens the album with Taylor’s trademark howls and a demonic laugh. As he writes in the liner notes, “When there is peace, the devil wants war. When there is love, the devil wants hate.” On “Yell Your Name,” one of the project’s original seven acoustic tunes, Taylor sings about a man wants his lover to come back.
The insistent rhythm of another acoustic love song, “Look to the Side” spotlights the distinctive sound of Taylor’s specially made electric banjo. Of the foot-tapping “Romans Had Their Way,” he says, “I wrote this song in the ’60s when I was a kid, listening to groups like the Kinks. This is the only old song on the album — all the rest are new.”
A stark meditation on race, “Blind Piano Teacher” tells the story of a young black piano teacher who lives with an older white man, while a man begs a woman for compassion on “Banjo Boogie Blues.”
With its swirling guitars and hypnotic lyrics, “Contraband Blues,” a song about Civil War slaves who were held by the Union Army as contraband (or captured property), is the powerful centerpiece to the album. “During the Civil War, slaves were free, but not as people,” Taylor says. “We don’t usually think of people as contraband, but this is about treating humans as animals.”
The bleak and haunting “Open These Bars” — the longest song on the album — refers to the Jim Crow years in the South, when a black man could be lynched for just looking at a white woman. On “Yellow Car, Yellow Dog,” a poor man wishes he had money and could win the love of a woman. Taylor calls this “one of my more poetic songs.”
“Never Been To Africa” is the simmering tale of a black soldier who’s fought all over the world in World War I, but has never seen Africa. There’s desperation in Taylor’s voice when he sings “Cold sweat running down my leg, I can feel the gas coming across my face, I know I don’t believe in war, but I’ll fight anyway.”
On the final track, “I Can See You’re Lying,” Taylor captures the energy and emotion of romance and relationships perfectly. “It’s another one of my dark, twisted love songs,” he says.
By taking blues music as an art form to a higher level altogether, Otis Taylor’s Contraband is both subtle and challenging. Another thought-provoking entry in his canon, Taylor’s eighth Telarc album is the follow up to Clovis People, Vol. 3, released in May 2010.
“It’s all a balancing act,” Taylor says. “A new album has to be different, but you can’t be too different. It has to be the same, but not exactly the same. It’s like a riddle.”
• • •
Trance Blues Jam Festival
On November 25-27, 2011, hundreds of musicians will come together for a celebration of the art of creating music when Otis Taylor presents the first annual Trance-Blues Jam Festival. The line-up includes world-renowned guitarist Bob “Steady Rollin’” Margolin, banjo virtuoso Tony Trischka, multi-instrumentalist Don Vappie, bassist George Porter Jr., guitarist/vocalist Standing Bear and Cassie Taylor, among others. The event begins with a pre-Trance Jam hosted by Taylor and his band with guest artists at the Boulder Outlook Hotel.
Labels:
Otis Taylor
Live Tracks and Extras - The Motives feat. Matt Taylor
A new band project brings together some of the finest talent from the European blues scene. The Motives draw their musical inspiration from 40s New York, 50s Chicago and 60s London, combining Matt Taylor's electrifying guitar work with Jonny Dyke's virtuoso hammond and piano over a rock solid rhythm section of Roy Martin on drums and Andy Graham on Bass. Their new album is released Spring 2012.
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Digital Album
Immediate download of 6-track album in your choice of MP3 320, FLAC, or just about any other format you could possibly desire.
- about
- Features two recent live tracks from The Motives, a preview of the single 'The Rules Don't Apply' and the Matt Taylor Band tracks (featured in The Motives live set) 'Fat Tuesday's Blue', 'To Be Alone With You' and the title track from Matt's 1995 debut album 'Radio City Blues' - ALL FREE!
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The Motives feat. Matt Taylor
Cant Be Satisfied - THE LIVIN' THE BLUES BAND - Mike Packer correspondent
The Livin' The Blues Band is a 4-piece outfit from the New York/New Jersey area who play Chicago Blues. They are pure entertainers and top musicians who know what the audience desires and know how to deliver the goods. High energy is what Livin' The Blues is all about.
The band consists of razor edge vocals and firey harmonica by frontman Jack Bernice. Jack sat in with my band @ BB Kings in New York City one night and drove the crowd wild! Hap Moore is the guitar player and he is simply fabulous. Mark Jacobs is solid on bass and the keeper of the clock Rich Rogers on drums rounds out this exciting blues band.
If you have not witnessed one of their shows you are truly missing out on a complete entertainment extravaganza. Catch them if you can! They can be seen and heard @ The New Park Tavern, 250 Park Avenue, East Rutherford New Jersey.
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Labels:
BB King's,
Mike Packer,
New Jersey,
The Livin' the Blues Band
Gettin' There - Mose Allison
Mose Allison was born in the Mississippi Delta on his grandfather’s farm near the village of Tippo. At five he discovered he could play the piano by ear and began “picking out” blues and boogie tunes he heard on the local jukebox. In high school he listened to the music of Louis Armstrong, Fats Waller, Duke Ellington, Louis Jordan, and his prime inspiration, Nat Cole of the King Cole Trio. He played trumpet in the marching and dance bands and started writing his own songs.
After a year at the University of Mississippi, he went to the Army in l946, playing in the Army Band in Colorado Springs and performing with accomplished musicians from around the country in small groups at NCO and Officer’s clubs. Returning to Ole Miss he joined the dance band as arranger, piano and trumpet player, but shortly left to form his own trio, playing piano and singing in a style influenced by Nat Cole, Louis Jordan and Erroll Garner. After a year on the road, Mose married, returned to college at Louisiana State University and graduated in 1952 with a BA in English and Philosophy.
He worked in nightclubs throughout the Southeast and West, blending the raw blues of his childhood with modern pianistic influences of John Lewis, Thelonius Monk and Al Haig. His vocal style was influenced by blues singers Percy Mayfield and Charles Brown. Arriving in New York in 1956, Mose received encouragement, work and a record date from Al Cohn. In 1957 he secured his own first recording contract with Prestige Records, recording Back Country Suite, a collection of pieces evoking the Mississippi Delta, released to unanimous critical acclaim. Mose went on to play and record with jazz greats Stan Getz, Al Cohn, Zoot Sims and Gerry Mulligan as well as with his own Mose Allison Trio.
Mose continued working with his own trio, writing and singing his own songs. His songs are a fusion of rustic blues and jazz, with profound and often humorous lyrics. As a pianist, while admiring jazz masters Bud Powell and Lenny Tristano, he also learned from composers such as Bartok, Ives, Hindemith and Ruggles. The fusing of these diverse elements into a cohesive performance continues today. A biography, One Man’s Blues: The Life and Music of Mose Allison, written by Patti Jones, was published in 1995 by Quartet Books Ltd. Of London.
Mose continues to write and perform all over the world. His songs have been covered by Van Morrison, John Mayall, The Who, The Clash, Eric Clapton, the Yardbirds, Elvis Costello and Bonnie Raitt to name a few. Van Morrison recorded a tribute album, Tell Me Something, The Songs of Mose Allison, on Verve Records, and rockers like Pete Townshend, Bonnie Raitt, Ray Davies and Bill Wyman of the Rolling Stones have frequently cited Mose Allison as a major influence. During a recent London engagement, Time Out, the major entertainment weekly, praised Mose:
Mose Allison’s popularity in the UK dates from the ‘60s, when his mixture of Delta-born blues feel and his gift for writing a song with a sting in the tail made him a prime source of inspiration for the UK’s new generation of blues/rock artists. Not just namechecked but lionized by the likes of Pete Townshend, Jack Bruce, Brian Auger and Georgie Fame, he became British rock’s most popular jazz musician. His piano style is notable for its strange mixture of classical-influenced sophistication and blues-based intimacy, and there’s still none like him with a lyric.
His most recent Grammy nomination was for one of his two newest recordings, Mose Chronicles, Live in London, Vol. I on Blue Note Records. Mose Chronicles, Vol II was released a year later. British born director Paul Bernays produced a one hour documentary on Mose entitled, Mose Allison: Ever Since I Stole the Blues, for the BBC. Among recent releases are a dozen reissues on CD including Allison Wonderland, a double CD retrospective on Rhino, and High Jinks, a three CD package on Legacy. Blue Note has also re-released a collection of past recordings, Mose Allison, Jazz Profiles. His music has often been featured in films, and he can be seen performing in the movie, The Score, starring Robert DeNiro and Marlon Brando.
Mose resides on Long Island with his wife Audre where they raised four children: Alissa, an attorney, John, a telecommunications specialist, Janine. a psychiatrist, and Amy, a singer/songwriter based in New York.
As one writer recently said: “Mose is now at the peak of his performing career. Although maybe this last statement is not quite true as he seems to continue to improve on perfection.”
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Labels:
Grammy,
Mose Allison
Tomorrow Night - LaVern Baker
LaVern Baker (November 11, 1929 – March 10, 1997) was an American rhythm and blues singer, who had several hit records on the pop chart in the 1950s and early 1960s. Her most successful records were "Tweedlee Dee" (1955), "Jim Dandy" (1956), and "I Cried a Tear" (1958)
She began singing in Chicago clubs such as the Club DeLisa around 1946, often billed as Little Miss Sharecropper, and first recorded under that name in 1949. She changed her name briefly to Bea Baker when recording for Okeh Records in 1951, and then became LaVern Baker when singing with Todd Rhodes and his band in 1952.
In 1953 she signed for Atlantic Records as a solo artist, her first release being "Soul on Fire". Her first hit came in early 1955, with the Latin-tempo "Tweedlee Dee" reaching #4 on the R&B chart and #14 on the national US pop charts. Georgia Gibbs scored the bigger hit with her version of "Tweedle Dee", for which Baker unsuccessfully attempted to sue her.
Baker had a succession of hits on the R&B charts over the next couple of years with her backing group The Gliders, including "Bop-Ting-A-Ling" (#3 R&B), "Play It Fair" (#2 R&B), and "Still" (#4 R&B). At the end of 1956 she had another smash hit with "Jim Dandy" (#1 R&B, #17 pop). It sold over one million copies, and was awarded a gold disc.[2] Further hits followed for Atlantic, including the follow-up "Jim Dandy Got Married" (#7 R&B), "I Cried a Tear" (#2 R&B, #6 pop in 1959), "I Waited Too Long" (#5 R&B, #3 pop, written by Neil Sedaka), "Saved" (#17 R&B, written by Leiber and Stoller), and "See See Rider" (#9 R&B in 1963).
In addition to singing, Baker also did some work with Ed Sullivan and Alan Freed on TV and in films, including Rock, Rock, Rock and Mr. Rock & Roll. In 1964, she recorded a Bessie Smith tribute album, before leaving Atlantic and joining Brunswick Records, where she recorded the album "Let Me Belong to You," as well as a hit duet single, "Think Twice," with Jackie Wilson.
In the late 1960s, she became seriously ill after a trip to Vietnam to entertain American soldiers. While recovering at the Subic Bay Naval Base in the Philippines, a friend recommended that she stay on as the entertainment director at the Marine Corps Staff NCO club there, and she remained there for 22 years.
In 1988 she returned to perform at Madison Square Garden for Atlantic Records' 40th anniversary. She then worked on the soundtracks to films such as Shag, (1989), Dick Tracy, (1990) and A Rage in Harlem (1991), which were all issued on CD.
In 1990, she made her Broadway debut replacing Ruth Brown as star of the hit musical Black and Blue. In 1991, Rhino Records released a new album Live in Hollywood recorded at the Hollywood Roosevelt Cinegrill, as well as a compilation of her greatest Atlantic hits entitled Soul on Fire. In 1992 she recorded a well-received studio album, Woke Up This Morning, for DRG Records. She continued performing after having both legs amputated from diabetes in 1994 and made her last recording, "Jump Into the Fire," for the 1995 Harry Nilsson tribute CD, For the Love of Harry on the Music Masters label.
She received the 1990 Pioneer Award from the Rhythm and Blues Foundation. In 1991, Baker became the second female solo artist inducted into the Rock and Roll Hall of Fame, following Aretha Franklin in 1987. Her song "Jim Dandy" was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and was ranked #343 on the Rolling Stone's 500 Greatest Songs of All Time.
LaVern Baker died from coronary complications in 1997, and was interred in the Maple Grove Cemetery in Kew Gardens, New York. She originally lay in an unmarked grave, but a fundraiser was scheduled by local historians to give LaVern a headstone, and this was accomplished on May 4, 2008.
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