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Memphis Horns - Memphis Horns CD Cover Art CD music music CDs songs album

Memphis Horns CD

 Memphis Horns Discography of CDs

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Recorded at Ardent Recording Studios, Memphis, Tennessee on October 16-26, 1994.

Personnel: Robert Cray, Warren Haynes (vocals, guitar); Bobby Womack (vocals, acoustic guitar); Etta James, Leon Russell, Mavis Staples, William Bell, Bruce Channel (vocals); Ricky Ray (guitar, acoustic guitar); Jack Holder, Michael Toles (guitar); Mabon "Teenie" Hodges (acoustic guitar); Ernest Williamson (clarinet, piano, Clavinet, synthesizer); Andrew Love (tenor saxophone); Wayne Jackson (trumpet, trombone, horns); Steve Potts (drums, congas, cowbells, tambourine); Jacquelyn Reddick, Jacqueline Johnson (background vocals).

Audio Mixers: Jay Newland; Michael Bishop .

Liner Note Author: Katharine Neubauer.

Recording information: Studio D, Ardent Recording Studios, Memphis, TN (10/16/1994/10/26/1994).

Editor: Michael Bishop .

Photographer: Steve Roberts.

The Memphis Horns: Andrew Love (tenor saxophone); Wayne Jackson (trumpet).

Additional personnel: Bruce Channel (vocals); Bobby Womack, Teenie Hodges, Ricky Ray, Robert Cray (guitar); Isaac Hayes (Hammond B-3 organ); Mavis Rivers, William Bell, Leon Russell, Warren Haynes.

Living Blues (9-10/95, pp.75-77) - "...The blend of classic and original material makes for an interesting program, and the arrangements make the appropriate bow to the Horns' Stax/Memphis roots without sounding like museum pieces. If you like Memphis soul music from back in the days when a horn section still meant something, this is a disc to get."
Jazziz (10/95, p.98) - "...gutbucket blues magic....new energy to works by Otis Redding, Al Green, and Sam Cooke, among others....enough heat to warm the coldest regions of the planet..."
Memphis Horns Music


Detailed Memphis Horns Music Information



List Price $11.97 (You save $2.32)
Category Rock/Pop Albums, Jazz CDs, R&B, Blues, Soul/R&B, Stax/Southern Soul
Label Telarc
Orig Year 1995
All Time Sales Rank   74630  
CD Universe Part number 1129990
Catalog number 83344
Discs 1
Release Date May 16, 1995
Studio/Live Studio
Mono/Stereo Stereo
Producer John Snyder
Engineer Jay Newland; Joseph Magee; Mark Lambert; Michael Bishop; Steve Savage
Recording Time 51 minutes
Personnel Wayne Jackson - trumpet, trombone, horns
Andrew Love - tenor saxophone
Steve Potts - drums, congas, cowbells, tambourine
Michael Toles - guitar
Jack Holder
Ernest Williamson - clarinet, piano, Clavinet, synthesizer
Jacquelyn Reddick
Jacqueline Johnson - background vocals

Also: Leon Russell, Warren Haynes, Isaac Hayes, Bobby Womack, Robert Cray, Bruce Channel, William Bell, Mavis Rivers, Ricky Ray, Etta James, Mavis Staples
Memphis Horns Songs


Memphis Horns Album Track Listing



Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Take Me to the River$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample2.Fa-Fa-Fa-Fa-Fa (Sad Song)$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample3.I've Been Loving You Too Long$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample4.Somebody Have Mercy$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample5.Break the Chain$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample6.Holding on to Love$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample7.I'm Just Another Soldier$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample8.Rumors$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample9.Roller Coaster$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample10.You Don't Miss Your Water$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample11.Desire in Your Eyes$0.99

Memphis Horns Music


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Memphis Horns Music Reviews



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Driftin'
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Louisiana Red is a versatile performer capable of playing standard electric blues, interacting with his guitar ŕ la Muddy Waters ("Hard Hard Time" is a good example), paying tribute to both B.B. King and Lightnin' Hopkins, or singing a religious hymn ("He Will See You Through"). Whether playing solo or performing as part of a fine blues quintet that includes Willie "Big Eyes" Smith on harmonica, Louisiana Red shows on this CD that he is one of the more significant blues stylists of the early 21st century, performing in each setting and idiom with equal sincerity and skill. Well worth exploring. ~ Scott Yanow It’s long been said that you have to live the blues in order to play them. Whether you believe in this notion or not, it would be difficult to argue that anyone performing on the blues scene today has felt the blues more than Louisiana Red. Born Iverson Minter in Bessemer, Alabama on June 23, 1932, Red has overcome adversity at virtually every step of his life. His songs are powerful and passionate and reflect both his tragic childhood and life struggles. His life sadly began with the death of his mother to pneumonia when Red was only seven days old. When he was five years old the KKK murdered his Father. At that point he was shuffled between family members where he was abused physically and psychologically. He also spent two years in an orphanage, where he suffered further abuse. His solace throughout these difficult times was music. Making his first instrument at age nine out of an old cigar box and rubber bands, he was encouraged greatly by his grandfather, a self-taught bottleneck guitarist who gave Red his first real guitar – an old Kay acoustic that he still has in his possession. While living in Pittsburgh he became a protĂ©gĂ© of local legend Crit Walters, and even received encouragement from John Lee “Sonny Boy” Williamson, who gave Red a Hohner Old Standby harmonica. At the age of sixteen, he lied about his age and joined the army, serving in Korea. After his honorable discharge, and a brief stint in New Jersey, he found himself in Chicago where he recorded a handful of tracks for the Checker label, a subsidiary of Chess Records, featuring Little Walter on harmonica and Muddy Waters assisting on guitar. This allowed him to hit the thriving Southside blues joints where he wound up playing with Jimmy Rogers, Otis Spann, and Baby Face Leroy, learning from them, and helping to develop their styles. Perhaps his greatest inspiration, however, came when he moved to Detroit and found himself playing with John Lee Hooker, the final piece of the puzzle that would make up Red’s style. In recent years Red has found himself incredibly busy. Now residing in Hanover, Germany, Red spends a couple ...
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Memphis Horns album
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This fascinating collection has odds and ends from a 13-year period, all of which feature very interesting piano players. None is more obscure than Sam Nowlin, whose entire recorded output consists of his two solo piano numbers from 1934, "So What" and "Change." On "Change," he quotes Bix Beiderbecke's "In a Mist," throws in a Eubie Blake lick, and makes the song sound a bit like Hoagy Carmichael's "Judy." Who was he? Nowlin is not even listed in the Brian Rust jazz discographies despite his talents. Gene Rodgers is perhaps best known for his four-bar ...
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For the soundtrack to Paul Weitz's charming 2005 comedy, IN GOOD COMPANY, album producer Kathy Nelson brings in an eclectic mix that features Stephen Trask's score, along with a dynamic selection of pop tracks. Songs here range from vintage R&B (Aretha Franklin's funky "Chain of Fools") to classic rock (Steely Dan's contemplative ...
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The American medicine show came into its own shortly after the Civil War with the rise of so-called patent medicines and the almost complete lack of regulations concerning the ingredients that went into them, and any number of noxious tonics, elixirs, and nostrums with trumpeted healing powers were hawked by silver-tongued pitch doctors to the audiences who flocked to see the various acrobats, dancers, fire-eaters, snake handlers, comedians and musicians who entertained at these free extravaganzas. As a cost efficient way of merging entertainment with merchandising (and where manufacturing meant mixing ingredients in a bathtub), these medicine shows successfully traveled the so-called "kerosene circuit" of rural and small town America until the dawn of the 20th century, when the rise of radio and movies, and the passage of the 1906 Pure Food and Drug Act, combined to render them obsolete. The medicine show blueprint of offering free entertainment to attract audiences and then using intermissions to push products on them has hardly gone away, however, and is still the driving force behind radio and television in the 21st century. The musicians featured in these colorful traveling medicine shows were professionals, at least professional enough to leave their home communities and take to the road, and luckily several of these musicians were still ...
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