Autographed Koko Taylor Berlin 11 Oktober 1981 Magazine Photo By Norbert Hess

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176299960824 AUTOGRAPHED KOKO TAYLOR BERLIN 11 OKTOBER 1981 MAGAZINE PHOTO BY NORBERT HESS . KOKO TAYLOR MAGAZINE PAGE  OF HER IN BERLIN 11 OKTOBER 1981 WITH PHOTO BY NORBERT HESS SIGNED MEASURING APPROXIMATELY 4 1/4 X 4 3/4 INCH Koko Taylor was an American singer whose style encompassed Chicago blues, electric blues, rhythm and blues and soul blues. Sometimes called "The Queen of the Blues", she was known for her rough, powerful vocals
Quotes  “Raucous, gritty, good-time blues….Taylor belts out blues in a gravel voice with ferocious intensity. Foot-stomping music that’s rough, raw and wonderfully upbeat.” —PEOPLE “Chicago’s best blues singer…she has fire in her lungs.” —CHICAGO SUN-TIMES “This seemingly ageless wonder pours her heart out with fire and emotion. Her singing is full of raw growls and grunts, her voice often building in intensity until it explodes.” —LA TIMES “One of the greatest female singers in R&B history.” —AUSTIN CHRONICLE “Searing power and a steely emotional tautness …she radiates a warmth that borders on the spiritual; few performers in any genre are as capable as she is of generating genuine intimacy out of fervid house-rocking moments….a living treasure.” —CHICAGO READER “Koko Taylor will kick your butt up and down the room…raw, rompin’, stompin’, barn-burnin’ blues. Contemporary blues just don’t get any better than this.” —BLUES ACCESS “Mother Nature’s got nothing on blues legend Koko Taylor.” —SAN FRANCISCO EXAMINER-CHRONICLE “Raucous, raunchy, good humored Chicago-styled blues…she unleashed like a hurricane. She attacks her material like a pitbull, ripping through the lyrics with a vengeance.” —JAZZ TIMES “Her punchy, hard-driving blues can still send El Nino-sized shivers through the atmosphere …. There may be no living artist who more palpably embodies the jolting, live-wire feel of Chicago blues than Koko Taylor….she is indeed a force of nature, putting her bluesy, blistering vocal signature on everything she touches.” —CHICAGO TRIBUNE “Koko Taylor is the blues, a sweaty, growling goddess of down-and-dirty. Sheer, unstoppable shouting power, full steam ahead and damn the torpedoes. Rocking, good-time blues…booming, earthy grit.” —BOSTON GLOBE “When Koko Taylor cuts loose, she rattles the walls.” —SAN FRANCISCO BAY GUARDIAN“ A howl, a growl and a full-throated fury that forms deep in her abdomen and reaches a roar by the time it hits her mouth.” —DETROIT FREE PRESS    Biography Grammy Award-winning blues legend Koko Taylor, 80, died on June 3, 2009 in her hometown of Chicago, IL, as a result of complications following her May 19 surgery to correct a gastrointestinal bleed. On May 7, 2009, the critically acclaimed Taylor, known worldwide as the “Queen of the Blues,” won her 29th Blues Music Award (for Traditional Female Blues Artist Of The Year), making her the recipient of more Blues Music Awards than any other artist. In 2004 she received the NEA National Heritage Fellowship Award, which is among the highest honors given to an American artist. Her most recent CD, 2007’s Old School, was nominated for a Grammy (eight of her nine Alligator albums were Grammy-nominated). She won a Grammy in 1984 for her guest appearance on the compilation album Blues Explosion on Atlantic. Born Cora Walton on a sharecropper’s farm just outside Memphis, TN, on September 28, 1928, Koko, nicknamed for her love of chocolate, fell in love with music at an early age. Inspired by gospel music and WDIA blues disc jockeys B.B. King and Rufus Thomas, Taylor began belting the blues with her five brothers and sisters, accompanying themselves on their homemade instruments. In 1952, Taylor and her soon-to-be-husband, the late Robert “Pops” Taylor, traveled to Chicago with nothing but, in Koko’s words, “thirty-five cents and a box of Ritz Crackers.” In Chicago, “Pops” worked for a packing company, and Koko cleaned houses. Together they frequented the city’s blues clubs nightly. Encouraged by her husband, Koko began to sit in with the city’s top blues bands, and soon she was in demand as a guest artist. One evening in 1962 Koko was approached by arranger/composer Willie Dixon. Overwhelmed by Koko’s performance, Dixon landed Koko a Chess Records recording contract, where he produced her several singles, two albums and penned her million-selling 1965 hit “Wang Dang Doodle,” which would become Taylor’s signature song. After Chess Records was sold, Taylor found a home with the Chicago’s Alligator Records in 1975 and released the Grammy-nominated I Got What It Takes. She recorded eight more albums for Alligator between 1978 and 2007, received seven more Grammy nominations and made numerous guest appearances on various albums and tribute recordings. Koko appeared in the films Wild At Heart, Mercury Rising and Blues Brothers 2000. She performed on Late Night With David Letterman, Late Night With Conan O’Brien, CBS-TV’s This Morning, National Public Radio’s All Things Considered, CBS-TV’s Early Edition, and numerous regional television programs. Over the course of her 40-plus-year career, Taylor received every award the blues world has to offer. On March 3, 1993, Chicago Mayor Richard M. Daley honored Taylor with a “Legend Of The Year” Award and declared “Koko Taylor Day” throughout Chicago. In 1997, she was inducted into the Blues Foundation’s Hall of Fame. A year later, Chicago Magazine named her “Chicagoan Of The Year” and, in 1999, Taylor received the Blues Foundation’s Lifetime Achievement Award. In 2009 Taylor performed in Washington, D.C. at The Kennedy Center Honors honoring Morgan Freeman. Koko Taylor was one of very few women who found success in the male-dominated blues world. She took her music from the tiny clubs of Chicago’s South Side to concert halls and major festivals all over the world. She shared stages with every major blues star, including Muddy Waters, Howlin’ Wolf, B.B. King, Junior Wells and Buddy Guy as well as rock icons Robert Plant and Jimmy Page. Taylor’s final performance was on May 7, 2009 in Memphis at the Blues Music Awards, where she sang “Wang Dang Doodle” after receiving her award for Traditional Blues Female Artist Of The Year. SELECTED DISCOGRAPHY SOLO RECORDINGS: •Koko Taylor (Chess) •Basic Soul (Chess) •South Side Baby (originally Black & Blue;   reissued on Evidence) •I Got What It Takes (Alligator) •The Earthshaker (Alligator) •From The Heart Of A Woman (Alligator) •Queen Of The Blues (Alligator) •Live From Chicago—An Audience   With The Queen (Alligator) •Jump For Joy (Alligator) •Force Of Nature (Alligator) •Royal Blue (Alligator) •Deluxe Edition (Alligator) •Old School (Alligator)   OTHER APPEARANCES: •Blues Deluxe (XRT) •The Alligator Records 20th   Anniversary Tour (Alligator) •The Alligator Records Christmas   Collection (Alligator) •Alligator Records’ Genuine   Houserockin’ Christmas (Alligator) •Blues Explosion (Atlantic) •Blues Summit (B.B. King – MCA) •Blues Down Deep: Songs Of   Janis Joplin (House Of Blues) •Blues Power: Songs Of Eric Clapton   (House Of Blues) Koko Taylor, (Cora Walton), American blues singer (born Sept. 28, 1928, Bartlett, Tenn.—died June 3, 2009, Chicago, Ill.), forged a musical career that spanned nearly half a century and earned her the nickname “Queen of the Blues.” Both of Taylor’s parents had died by the time she was 11 years old, and she and her five siblings picked cotton to survive. In the evenings they listened to such blues artists as Bessie Smith, Howlin’ Wolf, and Muddy Waters. In the early 1950s, she moved to Chicago with Robert (“Pops”) Taylor, whom she later married. She worked as a housekeeper during the day and frequented blues clubs at night. It was while singing at one of these clubs in 1963 that Taylor came to the attention of Chess Records producer Willie Dixon, who promptly signed her to that label. Taylor was soon recording with such blues legends as Buddy Guy, Big Walter Horton, and Robert Nighthawk. Under Dixon’s guidance, Taylor released a pair of albums and a number of singles for Chess, most notably the 1965 hit “Wang Dang Doodle.” That song, which thrust Taylor into the mainstream, sold more than a million copies and reached the top five on the Billboard rhythm-and-blues chart. With the demise of Chess in the early 1970s, Taylor moved to Alligator Records, where she recorded a string of albums over the next three decades that helped solidify her place as a preeminent female blues vocalist, although none of these albums matched the popular success she achieved with “Wang Dang Doodle.” She garnered eight Grammy Award nominations and collected more than two dozen Blues Music Awards. Health issues slowed her recording output in the 2000s, but Taylor’s final album, Old School (2007), featured vocals as robust and brassy as ever, and she continued to perform live up until a month before her death. Koko Taylor (born Cora Anna Walton, September 28, 1928 – June 3, 2009)[2][3][4] was an American singer whose style encompassed Chicago blues, electric blues, rhythm and blues and soul blues. Sometimes called "The Queen of the Blues",[1] she was known for her rough, powerful vocals. Contents 1 Life and career 2 Awards 3 Discography 4 See also 5 References 6 External links Life and career Born on a farm near Memphis, Tennessee, Taylor was the daughter of a sharecropper. She left Tennessee for Chicago in 1952 with her husband, Robert "Pops" Taylor, a truck driver.[3] In the late 1950s, she began singing in blues clubs in Chicago. She was spotted by Willie Dixon in 1962, and this led to more opportunities for performing and her first recordings. In 1963 she had a single on USA Records,[5] and in 1964 a cut on a Chicago blues collection on Spivey Records, called Chicago Blues.[6] In 1964 Dixon brought Taylor to Checker Records, a subsidiary label of Chess Records, for which she recorded "Wang Dang Doodle", a song written by Dixon and recorded by Howlin' Wolf five years earlier. The record became a hit, reaching number four on the R&B chart and number 58 on the pop chart in 1966,[7] and selling a million copies.[3] She recorded several versions of the song over the years, including a live rendition at the 1967 American Folk Blues Festival, with the harmonica player Little Walter and the guitarist Hound Dog Taylor. Her subsequent recordings, both original songs and covers, did not achieve as much success on the charts. "Taylor sounds like you always wanted those women with Big in front of their names to sound—powerful, even rough, without ever altogether abandoning her rather feminine register." — Christgau's Record Guide: Rock Albums of the Seventies (1981)[8] Taylor became better known by touring in the United States in the late 1960s and early 1970s, and she became accessible to a wider record-buying public when she signed a recording contract with Alligator Records in 1975. She recorded nine albums for Alligator, eight of which were nominated for Grammy awards, and came to dominate ranks of female blues singers, winning twenty-nine W. C. Handy/Blues Music Awards.[9] She survived a near-fatal car crash in 1989. In the 1990s, she appeared in the films Blues Brothers 2000 and Wild at Heart. She opened a blues club on Division Street in Chicago in 1994, which relocated to Wabash Avenue, in Chicago's South Loop, in 2000 (the club is now closed). In 2003, she appeared as a guest with Taj Mahal in an episode of the television series Arthur. In 2009, she performed with Umphrey's McGee at the band's New Year's Eve concert at the Auditorium Theater, in Chicago. Taylor influenced Bonnie Raitt, Shemekia Copeland, Janis Joplin, Shannon Curfman, and Susan Tedeschi. In her later years, she performed over 70 concerts a year and resided just south of Chicago, in Country Club Hills, Illinois. In 2008, the Internal Revenue Service said that Taylor owed $400,000 in unpaid taxes, penalties and interest, for the years 1998, 2000 and 2001. In those years combined, her adjusted gross income was $949,000.[10] Taylor's final performance was at the Blues Music Awards, on May 7, 2009. She suffered complications from surgery for gastrointestinal bleeding on May 19 and died on June 3.[11] On June 25, 2019, The New York Times Magazine listed Koko Taylor among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[12] Awards Grammy Award for Best Traditional Blues Album, 1985 Howlin' Wolf Award, 1996 Blues Hall of Fame, inducted 1997 Blues Foundation Lifetime Achievement Award, 1999 NEA National Heritage Fellowship, 2004 Blues Music Award (formerly the W. C. Handy Award), 32 nominations with 29 wins in the following categories:[9] Entertainer of the Year (1985) Female Artist (1981, 1995) Song of the Year (2008) Traditional Blues Album (2008) Traditional Blues Female Artist (1992, 1993, 1999–2005, 2008, 2009) Vocalist of the Year (1985) 7th Annual Independent Music Awards for Best Blues Album, 2008[13] Discography Love You Like a Woman, November 30, 1968 (Charly Records) Koko Taylor, 1969 (MCA/Chess Records) Basic Soul, 1972 (Chess) South Side Lady, 1973 (Black and Blue Records) I Got What It Takes, 1975 (Alligator Records) Southside Baby, 1975 (Black & Blue) The Earthshaker, 1978 (Alligator) From the Heart of a Woman, 1981 (Alligator) Queen of the Blues, 1985 (Alligator) Live from Chicago: An Audience with the Queen, 1987 (Alligator) Wang Dang Doodle, 1991 (Huub Records) Jump for Joy, 1992 (Alligator) Force of Nature, 1993 (Alligator) Royal Blue, 2000 (Alligator) Old School, 2007 (Alligator) See also Chicago Blues Festival Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations. The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music had contributed to the development of rock and roll, the term "R&B" became used in a wider context. It referred to music styles that developed from and incorporated electric blues, as well as gospel and soul music. From 1960s to 1970s, several British bands and groups such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. By the 1970s, the term "rhythm and blues" had changed again and was used as a blanket term for soul and funk. In the late 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". It combines rhythm and blues with elements of pop, soul, funk, disco, hip hop, and electronic music. Etymology, definitions and description Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948,[3] the term was used in Billboard as early as 1943.[4][5] It replaced the term "race music", which originally came from within the black community, but was deemed offensive in the postwar world.[6][7] The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles".[8] Before the "Rhythm and Blues" name was instated, various record companies had already begun replacing the term "race music" with "sepia series".[9] "Rhythm and blues" is often abbreviated as R&B or R'n'B.[10] In the early 1950s, the term "rhythm & blues" was frequently applied to blues records.[11] Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans".[12] He has used the term "R&B" as a synonym for jump blues.[13] However, AllMusic separates it from jump blues because of R&B's stronger gospel influences.[14] Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.[6] Well into the 21st century, the term R&B continues in use (in some contexts) to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, and often hypnotic textures while calling attention to no individual sound. While singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords and structure.[15] R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy,[16][page needed] as well as triumphs and failures in terms of relationships, economics, and aspirations.[citation needed] One publication of the Smithsonian Institution provided this summary of the origins of the genre in 2016. "A distinctly African American music drawing from the deep tributaries of African American expressive culture, it is an amalgam of jump blues, big band swing, gospel, boogie, and blues that was initially developed during a thirty-year period that bridges the era of legally sanctioned racial segregation, international conflicts, and the struggle for civil rights".[2] The Rock & Roll Hall of Fame defines some of the originators of R&B, including Joe Turner's big band, Louis Jordan's Tympany Five, James Brown and LaVern Baker. In fact, this source states that "Louis Jordan joined Turner in laying the foundation for R&B in the 1940s, cutting one swinging rhythm & blues masterpiece after another". Other artists who were "cornerstones of R&B and its transformation into rock & roll" include Etta James, Fats Domino, Roy Brown, Little Richard and Ruth Brown. The "doo wop" groups were also noteworthy, including The Orioles, The Ravens and The Dominoes.[17] The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but when DJ Alan Freed referred to rock and roll on mainstream radio in the mid-1950s, "the sexual component had been dialed down enough that it simply became an acceptable term for dancing".[18] History Precursors Louis Jordan in New York City, c. July 1946 The great migration of Black Americans to the urban industrial centers of Chicago, Detroit, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz, blues, and related genres of music. These genres of music were often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.[19] Late 1940s R&B originated in African-American communities in the 1940s.[20] In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s.[21] Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums.[22][23] Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".[6]: 173  Robert Palmer described it as "urbane, rocking, jazz-based music ... [with a] heavy, insistent beat".[24] Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris's remake of Brown's 1947 recording "Good Rockin' Tonight" reached number two on the charts, following band leader Sonny Thompson's "Long Gone" at number one.[25][26] In 1949, the term "Rhythm and Blues" (R&B) replaced the Billboard category Harlem Hit Parade.[6] Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the number one R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a "dirty boogie" because it was risque and raunchy.[27] Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".[28][29] Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a number four hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top five with "Saturday Night Fish Fry".[30] Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).[19] Afro-Cuban rhythmic influence African American music began incorporating Afro-Cuban rhythmic motifs in the 1800s with the popularity of the Cuban contradanza (known outside of Cuba as the habanera).[31] The habanera rhythm can be thought of as a combination of tresillo and the backbeat. The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note). For the more than a quarter-century in which the cakewalk, ragtime and proto-jazz were forming and developing, the Cuban genre habanera exerted a constant presence in African American popular music.[32] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz.[33] There are examples of tresillo-like rhythms in some African American folk music such as the hand-clapping and foot-stomping patterns in ring shout, post-Civil War drum and fife music, and New Orleans second line music.[34] Wynton Marsalis considers tresillo to be the New Orleans "clave" (although technically, the pattern is only half a clave).[35] Tresillo is the most basic duple-pulse rhythmic cell in Sub-Saharan African music traditions, and its use in African American music is one of the clearest examples of African rhythmic retention in the United States.[36] The use of tresillo was continuously reinforced by the consecutive waves of Cuban music, which were adopted into North American popular culture. In 1940 Bob Zurke released "Rhumboogie", a boogie-woogie with a tresillo bass line, and lyrics proudly declaring the adoption of Cuban rhythm: Harlem's got a new rhythm, man it's burning up the dance floors because it's so hot! They took a little rhumba rhythm and added boogie-woogie and now look what they got! Rhumboogie, it's Harlem's new creation with the Cuban syncopation, it's the killer! Just plant your both feet on each side. Let both your hips and shoulder glide. Then throw your body back and ride. There's nothing like rhumbaoogie, rhumboogie, boogie-woogie. In Harlem or Havana, you can kiss the old Savannah. It's a killer![37] Although originating in the metropolis at the mouth of the Mississippi River, New Orleans blues, with its Afro-Caribbean rhythmic traits, is distinct from the sound of the Mississippi Delta blues.[38] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming.[39] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls: Fats Domino in 1956 New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in 1950s rock 'n' roll. On numerous recordings by Fats Domino, Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to the string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure – as a bass pattern on a Cuban disc.[40] In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),[41] revealed how he initially superimposed tresillo over swing rhythm: I heard the bass playing that part on a 'rumba' record. On 'Country Boy' I had my bass and drums playing a straight swing rhythm and wrote out that 'rumba' bass part for the saxes to play on top of the swing rhythm. Later, especially after rock 'n' roll came along, I made the 'rumba' bass part heavier and heavier. I'd have the string bass, an electric guitar and a baritone all in unison.[42] Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. Fats Domino's "Blue Monday", produced by Bartholomew, is another example of this now classic use of tresillo in R&B. Bartholomew's 1949 tresillo-based "Oh Cubanas" is an attempt to blend African American and Afro-Cuban music. The word mambo, larger than any of the other text, is placed prominently on the record label. In his composition "Misery", New Orleans pianist Professor Longhair plays a habanera-like figure in his left hand.[citation needed] The deft use of triplets is a characteristic of Longhair's style.     {       \new PianoStaff <<         \new Staff <<             \relative c'' {                 \clef treble \key f \major \time 4/4                 \tuplet 3/2 { r8 f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f }                 r4 r8 <e g> <d f>4 \acciaccatura { c16 d } <c e>8 <bes d>                 \tuplet 3/2 { r8 f' f } \tuplet 3/2 { f f f } \tuplet 3/2 { f d bes } \tuplet 3/2 { f g gis }                 a                 }             >>         \new Staff <<             \relative c, {                 \clef bass \key f \major \time 4/4                 f4 d'8 a c4 d8 a                 bes4. d8 f4 d8 a                 bes4. d8 f4 d8 e,                 f4                 }             >>     >> } Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there was a "very specific absence of asymmetric time-line patterns (key patterns) in virtually all early-twentieth-century African American music ... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African timelines."[43] In the late 1940s, this changed somewhat when the two-celled timeline structure was brought into the blues. New Orleans musicians such as Bartholomew and Longhair incorporated Cuban instruments, as well as the clave pattern and related two-celled figures in songs such as "Carnival Day", (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). While some of these early experiments were awkward fusions, the Afro-Cuban elements were eventually integrated fully into the New Orleans sound. Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records."[44] He was especially enamored with Afro-Cuban music. Michael Campbell states: "Professor Longhair's influence was ... far-reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair's Blues Rhumba,' where he overlays a straightforward blues with a clave rhythm."[45] Longhair's particular style was known locally as rumba-boogie.[46] In his "Mardi Gras in New Orleans", the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo".[47] Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 claves are written above for rhythmic reference. The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s," adding: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from a triplet or shuffle feel to even or straight eighth notes.[48] Concerning the various funk motifs, Stewart states that this model "... is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."[49] Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.[50] Ike Turner recorded "Cubano Jump" (1954) an electric guitar instrumental, which is built around several 2–3 clave figures, adopted from the mambo. The Hawketts, in "Mardi Gras Mambo" (1955) (featuring the vocals of a young Art Neville), make a clear reference to Perez Prado in their use of his trademark "Unhh!" in the break after the introduction.[51] Ned Sublette states: "The electric blues cats were very well aware of Latin music, and there was definitely such a thing as rhumba blues; you can hear Muddy Waters and Howlin' Wolf playing it."[52] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel.[52] The use of clave in R&B coincided with the growing dominance of the backbeat, and the rising popularity of Cuban music in the U.S. In a sense, clave can be distilled down to tresillo (three-side) answered by the backbeat (two-side).[53] 3–2 clave written in two measures in cut-time Tresillo answered by the backbeat, the essence of clave in African American music The "Bo Diddley beat" (1955) is perhaps the first true fusion of 3–2 clave and R&B/rock 'n' roll. Bo Diddley has given different accounts of the riff's origins. Sublette asserts: "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[52] Johnny Otis's "Willie and the Hand Jive" (1958) is another example of this successful blend of 3–2 claves and R&B. Otis used the Cuban instruments claves and maracas on the song. Bo Diddley's "Bo Diddley beat" is a clave-based motif. Afro-Cuban music was the conduit by which African American music was "re-Africanized", through the adoption of two-celled figures like clave and Afro-Cuban instruments like the conga drum, bongos, maracas and claves. According to John Storm Roberts, R&B became the vehicle for the return of Cuban elements into mass popular music.[54] Ahmet Ertegun, producer for Atlantic Records, is reported to have said that "Afro-Cuban rhythms added color and excitement to the basic drive of R&B."[55] As Ned Sublette points out though: "By the 1960s, with Cuba the object of a United States embargo that still remains in effect today, the island nation had been forgotten as a source of music. By the time people began to talk about rock and roll as having a history, Cuban music had vanished from North American consciousness."[56] Early to mid-1950s Little Richard in 1967 At first, only African Americans were buying R&B discs. According to Jerry Wexler of Atlantic Records, sales were localized in African-American markets; there were no white sales or white radio play. During the early 1950s, more white teenagers started to become aware of R&B and began purchasing the music. For example, 40% of 1952 sales at Dolphin's of Hollywood record shop, located in an African-American area of Los Angeles, were to whites. Eventually, white teens across the country turned their musical taste toward rhythm and blues.[57] Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records, produced many R&B hits in 1951, including "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include "Gee Baby", "Mambo Boogie" and "All Nite Long".[58] The Clovers, a quintet consisting of a vocal quartet with accompanying guitarist, sang a distinctive-sounding combination of blues and gospel,[59] had the number five hit of the year with "Don't You Know I Love You" on Atlantic.[58][60][61] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW (850 AM).[62][63] Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily African American clientele. Freed began referring to the rhythm and blues music he played as "rock and roll". In 1951 Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s stars Roy Brown and Billy Wright. However, it was not until he recorded a demo in 1954 that caught the attention of Specialty Records that the world would start to hear his new uptempo funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti"[64] and "Long Tall Sally", which would influence performers such as James Brown,[65] Elvis Presley,[66] and Otis Redding.[65] Also in 1951, the song Rocket 88 was recorded by Ike Turner and his Kings of Rhythm at a studio owned by Sam Phillips with the vocal by Jackie Brenston. This song is often cited as a precursor to rock and roll or as one of the first records in that genre.[67] In a later interview, however, Ike Turner offered this comment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".[68] Ruth Brown was known as the "Queen of R&B".[69] Ruth Brown, performing on the Atlantic label, placed hits in the top five every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream".[59] Faye Adams's "Shake a Hand" made it to number two in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog"[70] the year's number three hit. Ruth Brown was very prominent among female R&B stars; her popularity most likely came from "her deeply rooted vocal delivery in African American tradition"[71] [72] That same year The Orioles, a doo-wop group, had the number four hit of the year with "Crying in the Chapel".[73] Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame".[74][75] Ray Charles came to national prominence in 1955 with "I Got a Woman".[76] Big Bill Broonzy said of Charles's music: "He's mixing the blues with the spirituals ... I know that's wrong."[6]: 173  In 1954 the Chords' "Sh-Boom"[77] became the first hit to cross over from the R&B chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts of Stone" by the Charms made the top 20.[78] At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm a Man" climbed to number two on the R&B charts and popularized Bo Diddley's own original rhythm and blues clave-based vamp that would become a mainstay in rock and roll.[79] At the urging of Leonard Chess at Chess Records, Chuck Berry reworked a country fiddle tune with a long history, entitled "Ida Red".[80] The resulting "Maybellene" was not only a number three hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City in 1954, helped the record become popular with white teenagers. Freed had been given part of the writing credit by Chess in return for his promotional activities, a common practice at the time.[81] R&B was also a strong influence on rock and roll.[82] A 1985 article in the Wall Street Journal titled, "Rock! It's Still Rhythm and Blues"[full citation needed] said that the "two terms were used interchangeably" until about 1957. The other sources quoted in the article said that rock and roll combined R&B with pop and country music.[83] Fats Domino was not convinced that there was any new genre. In 1957, he said, "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".[84] According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".[85] Late 1950s Della Reese In 1956, an R&B "Top Stars of '56" tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was very popular with R&B music buyers.[86] Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, Sam "T-Bird" Jensen, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band.[87] Cities visited by the tour included Columbia, South Carolina; Annapolis, Maryland; Pittsburgh, Pennsylvania; Syracuse, Rochester and Buffalo, New York; and other cities.[citation needed] In Columbia, the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt". In Annapolis, 50,000 to 70,000 people tried to attend a sold-out performance with 8,000 seats. Roads were clogged for seven hours.[88] Filmmakers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, the Treniers, the Platters, and the Flamingos all made it onto the big screen.[89] Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at number one, and "All Shook Up" at number five, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.[90] Nat King Cole, also a jazz pianist who had two hits on the pop charts in the early 1950s ("Mona Lisa" at number two in 1950 and "Too Young" at number one in 1951), had a record in the top five in the R&B charts in 1958, "Looking Back"/"Do I Like It".[91] In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar and Berry Gordy's Motown Records.[92] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number one and two number two hits.[93] Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Nat King Cole, Frank Sinatra and Tony Bennett.[94] Lloyd Price, who in 1952 had a number one hit with "Lawdy Miss Clawdy", regained predominance with a version of "Stagger Lee" at number one and "Personality" at number five in 1959.[95][96] The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career and was Elvis's bassist in the 1950s, was popular with black listeners.[citation needed] Ninety percent of his record sales were from black people, and his "Smokie, Part 2" (1959) rose to the number one position on black music charts.[citation needed] He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black."[citation needed] Hi Records did not feature pictures of the Combo on early records.[97] 1960s–1970s Sam Cooke Sam Cooke's number five hit "Chain Gang" is indicative of R&B in 1960, as is pop rocker Chubby Checker's number five hit "The Twist".[96][98] By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue-eyed soul.[99][92] Motown Records had its first million-selling single in 1960 with the Miracles' "Shop Around",[100] and in 1961, Stax Records had its first hit with Carla Thomas's "Gee Whiz (Look at His Eyes)".[101][102] Stax's next major hit, The Mar-Keys' instrumental "Last Night" (also released in 1961), introduced the rawer Memphis soul sound for which Stax became known.[103] In Jamaica, R&B influenced the development of ska.[104][105] In 1969, black culture and rhythm and blues reached another great achievement when the Grammys added the Rhythm and Blues category, giving academic recognition to the category.[citation needed] By the 1970s, the term "rhythm and blues" was being used as a blanket term for soul, funk, and disco.[106] 1980s to present Main article: Contemporary R&B In the late 1980s and early 1990s, hip-hop started to capture the imagination of America's youth. R&B started to become homogenized, with a group of high-profile producers responsible for most R&B hits. It was hard for R&B artists of the era to sell their music or even have their music heard because of the rise of hip-hop, but some adopted a "hip-hop" image, were marketed as such, and often featured rappers on their songs. In 1990, Billboard reintroduced R&B to categorize all of Black popular music other than hip-hop.[107] Newer artists such as Usher, R. Kelly, Janet Jackson, TLC, Aaliyah, Destiny's Child, Tevin Campbell and Mary J. Blige enjoyed success. L.A. Reid, the CEO of LaFace Records, was responsible for some of R&B's greatest successes in the 1990s in the form of Usher, TLC and Toni Braxton. Later, Reid successfully marketed Boyz II Men.[108] In 2004, 80% of the songs that topped the R&B charts were also at the top of the Hot 100. That period was the all-time peak for R&B and hip hop on the Billboard Hot 100 and on Top 40 Radio.[109] From about 2005 to 2013, R&B sales declined.[110] However, since 2010, hip-hop has started to take cues from the R&B sound, choosing to adopt a softer, smoother sound that incorporates traditional R&B with rappers such as Drake, who has opened an entire new door for the genre. This sound has gained in popularity and created great controversy for both hip-hop and R&B as to how to identify it.[111] Jews in the business end of rhythm and blues Main article: Jewish influence in rhythm and blues According to the Jewish writer, music publishing executive, and songwriter Arnold Shaw, during the 1940s in the US, there was generally little opportunity for Jews in the WASP-controlled realm of mass communications, but the music business was "wide open for Jews as it was for blacks".[112] Jews played a key role in developing and popularizing African American music, including rhythm and blues, and the independent record business was dominated by young Jewish men who promoted the sounds of black music.[113] British rhythm and blues Main article: British rhythm and blues Eric Burdon & the Animals (1964) British rhythm and blues and blues rock developed in the early 1960s, largely as a response to the recordings of American artists, often brought over by African American servicemen stationed in Britain or seamen visiting ports such as London, Liverpool, Newcastle and Belfast.[114][115] Many bands, particularly in the developing London club scene, tried to emulate black rhythm and blues performers, resulting in a "rawer" or "grittier" sound than the more popular "beat groups".[116] During the 1960s, Geno Washington, the Foundations, and the Equals gained pop hits.[117] Many British black musicians helped form the British R&B scene. These included Geno Washington, an American singer stationed in England with the Air Force. He was invited to join what became Geno Washington & the Ram Jam Band by guitarist Pete Gage in 1965 and enjoyed top 40 hit singles and two top 10 albums before the band split up in 1969.[118] Another American GI, Jimmy James, born in Jamaica, moved to London after two local number one hits in 1960 with The Vagabonds, who built a strong reputation as a live act. They released a live album and their studio debut, The New Religion, in 1966 and achieved moderate success with a few singles before the original Vagabonds broke up in 1970.[119] White blues rock musician Alexis Korner formed new jazz rock band CCS in 1970.[120] Interest in the blues would influence major British rock musicians, including Eric Clapton, Mick Taylor, Peter Green, and John Mayall, the groups Free and Cream adopted an interest in a wider range of rhythm and blues styles.[116] The Rolling Stones became the second most popular UK band (after The Beatles)[121] and led the "British Invasion" of the US pop charts.[116] The Rolling Stones covered Bobby Womack & the Valentinos'[122] song It's All Over Now", giving them their first UK number one in 1964.[123] Under the influence of blues and R&B, bands such as the Rolling Stones, the Yardbirds, and the Animals, and more jazz-influenced bands like the Graham Bond Organisation and Zoot Money, had blue-eyed soul albums.[116] White R&B musicians popular in the UK included Steve Winwood, Frankie Miller, Scott Walker & the Walker Brothers, the Animals from Newcastle, [124] the Spencer Davis Group, and Van Morrison & Them from Belfast.[116] None of these bands exclusively played rhythm and blues, but it remained at the core of their early albums.[116] Champion Jack Dupree was a New Orleans blues and boogie woogie pianist who toured Europe and settled there from 1960, living in Switzerland and Denmark, then in Halifax, England in the 1970s and 1980s, before finally settling in Germany.[125] From the '70s to '80s, Carl Douglas, Hot Chocolate, Delegation, Junior, Central Line, Princess, Jacki Graham, David Grant, the Loose Ends, the Pasadenas and Soul II Soul gained hits on pop or R&B chart.[126] The music of the British mod subculture grew out of rhythm and blues and later soul performed by artists who were not available to the small London clubs where the scene originated.[127] In the late '60s, The Who performed American R&B songs such as the Motown hit "Heat Wave", a song which reflected the young mod lifestyle.[127] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American music market.[127] The British White R&B bands produced music which was very different in tone from that of African-American artists.[116] See also Wikiquote has quotations related to Rhythm and blues. Rhythm and blues portal List of R&B musicians List of artists who reached number one on the Billboard R&B chart List of number-one rhythm and blues hits (United States) Music of the United States
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