Big Eye Nelson

Louis "Big Eye" Nelson was a jazz clarinetist traditionalAmerican, born in New Orleans (Louisiana), the January 28, 1885, and died in the same city, August 20, 1949.
Also played the [accordion]], bass and guitar, but after taking classes from Lorenzo Tio, from 1904, focused on the clarinet. He played in some of the most important bands in New Orleans, as the Imperial Band (1905), the Eagle Band (1912) and others, before joining the Original Creole Orchestra Freddie Keppard in 1916. A year later, left the band and returned to New Orleans,where he played with John Robechaux between 1918 and 1924and then incorporated into other bands.
In full revival style, in 1940, will lead his own band and play with trumpeter Henry Kid Rena.

Louis "Big Eye" Nelson fue un clarinetista norteamericano de jazz tradicional, nacido en Nueva Orleans (Luisiana), el 28 de enero de 1885, y fallecido en la misma ciudad, el 20 de agosto de 1949.

Tocaba también el [àcordeón]], el contrabajo y la guitarra, aunque tras recibir clases de Lorenzo Tio, a partir de 1904, se centró en el clarinete. Tocó en algunas de las más importantes bandas de Nueva Orleans, como la Imperial Band (1905), la Eagle Band (1912) y otras, antes de entrar a formar parte de la Original Creole Orchestra de Freddie Keppard, en 1916. Un año después, deja la banda y regresa a Nueva Orleans, donde toca con John Robechaux, entre 1918 y 1924, incorporándose después a otras bandas.

En pleno revival del estilo, en los años 1940, dirigirá su propia banda y tocará con el trompetista Henry Kid Rena.

Little Brother Montgomery

Eurreal Wilford "Little Brother" Montgomery (April 18, 1906 – September 6, 1985) was a jazz and blues pianist and singer.
Largely self-taught, Montgomery is often thought of as just a blues pianist, but he was an important blues pianist with an original style. He was also quite versatile, however, and worked in jazz bands including larger ensembles that used written arrangements. Although he did not read music, he learned band routines by ear, once through an arrangement and he had it memorized. He was a singer with an immediately recognizable, rather affecting wobble: an oral historian as full of musical anecdotes as Jelly Roll Morton.

Montgomery was born in the town of Kentwood, Louisiana, a sawmill town near the Mississippi Border, across Lake Pontchartrain from the city of New Orleans, where he spent much of his childhood. As a child he looked like his father, Harper Montgomery, and was called Little Brother Harper. The name evolved into Little Brother Montgomery, a nickname which stuck. He started playing piano at the age of 4, and by age 11 he was playing at various barrelhouses in Louisiana. His own musical influences were Jelly Roll Morton who used visit the Montgomery household.
Early on he played at African American lumber and turpentine camps in Louisiana and Mississippi, then with the bands of Clarence Desdunes and Buddy Petit. He first went to Chicago from 1928 to 1931, where he made his first recordings. From 1931 through 1938 he led a band in Jackson.

In 1942 Montgomery moved back to Chicago, which would be his base for the rest of his life, with various tours to other United States cities and Europe. His repertoire alternated between blues and traditional jazz (he played Carnegie Hall with Kid Ory's Dixieland band in 1949). In the late 1950s he was "discovered" by wider white audiences. He toured briefly with Otis Rush in 1956. His fame grew in the 1960s, and he continued to make many recordings, including on his own record label, FM Records (formed in 1969). FM came from Floberg, his wife Jan's maiden name and Montgomery, his own surname.

These and other recordings added momentum to Montgomery’s career and he became a world traveller, visiting the UK and Europe on several occasions during the 1960s, cutting several of his 20-odd albums there, while remaining based in Chicago. Montgomery appeared at many blues and folk festivals during the following decade and was considered a living legend, a link to the early days of blues and New Orleans.
Among his original compositions are "Shreveport Farewell", "Farrish Street Jive", and "Vicksburg Blues".
In 1968, Montgomery contributed to two albums by popular vocal pop group Spanky and Our Gang. The two albums were "Like To Get To Know You" and "Anything You Choose b/w Without Rhyme Or Reason".
Montgomery died on September 6, 1985, in Champaign, Illinois, and is interred in the Oak Woods Cemetery.


Eurreal Wilford "Little Brother" Montgomery (18 abril 1906 a 6 septiembre 1985) fue un pianista de jazz y blues y cantante.En gran parte autodidacta, Montgomery es a menudo considerado como un simple pianista de blues, pero era un pianista de blues importante con un estilo original. También era muy versátil, sin embargo, y trabajó en bandas de jazz como conjuntos más grandes que utilizan los acuerdos por escrito.Aunque él no leía música, aprendió las rutinas de la banda por el oído, una vez que a través de un acuerdo y que había aprendido de memoria. Era un cantante con una reconocible al instante, y no afectan a tambalearse: un historiador oral como llena de anécdotas musicales como Jelly Roll Morton.

Montgomery nació en la ciudad de Kentwood, Louisiana, un pueblo aserradero cerca de la frontera de Mississippi, a través del lago Pontchartrain de la ciudad de Nueva Orleans, donde pasó gran parte de su infancia. Cuando era niño se parecía a su padre, Harper Montgomery, y fue llamado Harper hermanito. El nombre se convirtió en Little Brother Montgomery, un apodo que se pegó. Empezó a tocar el piano a la edad de 4 años, y los 11 años que estaba jugando en diferentes barrelhouses en Louisiana. Sus influencias musicales son propios de Jelly Roll Morton, que utiliza visitar la casa de Montgomery.

Al principio él jugó en madera afro-americanos y los campos de trementina en Louisiana y Mississippi, y luego con las bandas de Clarence Desdunes y Petit Buddy. Primero fue a Chicago desde 1928 hasta 1931, donde hizo sus primeras grabaciones.De 1931 a 1938 dirigió una banda de Jackson.En 1942, Montgomery se trasladó a Chicago, lo que sería su base para el resto de su vida, con varias excursiones a otras ciudades de Estados Unidos y Europa. Su repertorio se alternan entre el blues y el jazz tradicional (tocó el Carnegie Hall con la banda de Kid Ory Dixieland en 1949).  A finales de 1950 fue "descubierta" por un público más amplio blanco. Él viajó brevemente con Otis Rush en 1956.  Su fama creció en la década de 1960, y continuó con sus numerosas grabaciones, incluyendo en su propio sello discográfico, FM Records (creada en 1969). FM vino de Floberg, nombre de soltera de su esposa Jan y Montgomery, su propio apellido.

Grabaciones de estos y otros impulsaron a la carrera de Montgomery, y se convirtió en un viajero del mundo, visitar el Reino Unido y Europa en varias ocasiones durante la década de 1960, el corte de varios de sus 20 y tantos discos que, sin dejar de ser sede en Chicago. Montgomery se presentó enmuchos azules y fiestas populares durante la década siguiente y fue considerado una leyenda viva, un enlace a los primeros días de blues y de Nueva Orleans.Entre sus composiciones originales son "Shreveport Adiós", "Jive Farrish la calle", y "Blues Vicksburg".En 1968, Montgomery participó en dos álbumes por el popular grupo de pop vocal Spanky y nuestra pandilla. Los dos álbumes fueron "Al igual que para llegar a conocerte" y "Todo lo que usted elige b / w sin ton ni son".Montgomery falleció el 6 de septiembre de 1985, en Champaign, Illinois, y es enterrado en el cementerio Oak Woods.

Lead Belly

Huddie William Ledbetter (January 20, 1888 – December 6, 1949) was an iconic American folk and blues musician, notable for his strong vocals, his virtuosity on the twelve-string guitar, and the songbook of folk standards he introduced.

He is best known as Lead Belly. Though many releases list him as "Leadbelly", he himself spelled it "Lead Belly". This is also the usage on his tombstone, as well as of the Lead Belly Foundation.
Although Lead Belly most commonly played the twelve-string, he could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar. In other recordings he just sings while clapping his hands or stomping his foot.

The topics of Lead Belly's music covered a wide range of subjects, including gospel songs; blues songs about women, liquor and racism; and folk songs about cowboys, prison, work, sailors, cattle herding, and dancing. He also wrote songs concerning the newsmakers of the day, such as Franklin D. Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys, and Howard Hughes.
In 2008, Lead Belly was inducted into the Louisiana Music Hall of Fame.
Born Huddie William Ledbetter on the Jeter Plantation near Mooringsport, Louisiana, the younger of two children to Sallie Brown and Wesley Ledbetter. He had an older sister named Australia. Huddie is pronounced HYEW-dee or HUGH-dee.

Ledbetter was probably born in January 1888, though his grave marker lists his birth date as January 23, 1889. The 1900 United States Census lists "Hudy William Ledbetter" as 12 years old, and his birth date as January 20, 1888. The 1910 United States Census and the 1930 United States Census also list his birth date as January 20, 1888. In April 1942, Ledbetter filled out his World War II draft registration, listing his birth date as January 23, 1889.
His parents married on February 26, 1888, but had actually cohabitated for several years.
When Ledbetter was five years old, the family settled in Bowie County, Texas.
By 1903, Lead Belly was already a "musicianer",[cite this quote] a singer and guitarist of some note. He performed for nearby Shreveport audiences in St. Paul's Bottoms, a notorious red-light district there. Lead Belly began to develop his own style of music after exposure to a variety of musical influences on Shreveport's Fannin Street, a row of saloons, brothels, and dance halls in the Bottoms.

At the time of the 1910 census, Lead Belly, still officially listed as "Hudy", was living next door to his parents with his first wife, Aletha "Lethe" Henderson, who at the time of the census was 17 years old, and was, therefore, 15 at the time of their marriage in 1908. It was also there that he received his first instrument, an accordion, from his uncle, and by his early 20s, after fathering at least two children, he left home to find his living as a guitarist (and occasionally as a laborer).

Influenced by the sinking of the RMS Titanic in April 1912, he wrote the song "The Titanic", which noted the racial differences of the time. "The Titanic" was the first song he ever learned to play on a 12-string guitar, which was later to become his signature instrument. He first played it in 1912 when performing with Blind Lemon Jefferson (1897–1929) in and around Dallas, Texas. The song is about champion African-American boxer Jack Johnson being denied passage on the Titanic due to his race (in point of fact, although Johnson was denied passage on a ship for being black, it was not the Titanic),[citation needed] with the iconic line, "Jack Johnson tried to get on board. The Captain, he says, 'I ain't haulin' no coal!' Fare thee, Titanic! Fare thee well!" Lead Belly noted that he had to leave out this verse when playing in front of white audiences.
By the time Lead Belly was released from prison, the United States was deep in the Great Depression and jobs were very scarce. In September 1934, in need of regular work in order to avoid having his release canceled, Lead Belly met with John A. Lomax and asked him to take him on as a driver. For three months he assisted the 67-year-old John Lomax in his folk song collecting in the South. (Alan Lomax was ill and didn't accompany them on this trip.)

In December, Lead Belly participated in a "smoker" (group sing) at an MLA meeting in Bryn Mawr College in Pennsylvania, where John A. Lomax had a prior lecturing engagement. He was written up in the press as a convict who had sung his way out of prison. On New Year's Day, 1935, the pair arrived in New York City, where John Lomax was scheduled to meet with his publisher, Macmillan, about a new collection of folk songs. The newspapers were eager to write about the "singing convict" and Time magazine made one of its first filmed March of Time newsreels about him. Lead Belly attained fame (though not fortune).
The following week, he began recording with ARC, the race records division of Columbia Records, but these recordings achieved little commercial success. Part of the reason for the poor sales may have been because ARC insisted on releasing only his blues songs rather than the folk songs for which he would later become better known. In any case, Lead Belly continued to struggle financially. Like many performers, what income he made during his lifetime would come from touring, not from record sales.

In February 1935, he married his girlfriend, Martha Promise, who came north from Louisiana to join him.
The month of February was spent recording his and other African-American repertoire and interviews about his life with Alan Lomax for their forthcoming book, Negro Folk Songs as Sung by Lead Belly (1936). Concert appearances were slow to materialize, however, and in March 1935, Lead Belly accompanied John A. Lomax on a two-week lecture tour of colleges and universities in the Northeast, culminating at Harvard. These lectures had been scheduled before John Lomax had teamed up with Lead Belly.
At the end of the month, John Lomax decided he could no longer work with Lead Belly and gave him and Martha money to go back to Louisiana by bus. He gave Martha the money that Lead Belly had earned from three months of performing, but in installments, on the pretext that Lead Belly would drink it all if given a lump sum. From Louisiana, Lead Belly then successfully sued Lomax for the full amount and for release from his management contract with Lomax. The quarrel was very bitter and there were hard feelings on both sides. Curiously, however, in the midst of the legal wrangling Lead Belly wrote to John A. Lomax proposing that they team up together once again. It was not to be, however. The book about Lead Belly that the Lomaxes published in the fall of the following year, meanwhile, was a commercial failure.

In January 1936, Lead Belly returned to New York on his own without John Lomax for an attempted comeback. He performed twice a day at Harlem's Apollo theater during the Easter season in a live dramatic recreation of the Time Life newsreel (itself a recreation) about his prison encounter with John A. Lomax, in which he had worn stripes, even though by this time he was no longer associated with Lomax.

Life magazine ran a three-page article titled, "Lead Belly - Bad Nigger Makes Good Minstrel," in the April 19, 1937 issue. It included a full-page, color (rare in those days) picture of him sitting on grain sacks playing his guitar and singing.[12] Also included was a striking picture of Martha Promise (identified in the article as his manager); photos showing Lead Belly's hands playing the guitar (with the caption "these hands once killed a man"); Texas Governor Pat M. Neff; and the "ramshackle" Texas State Penitentiary. The article attributes both of his pardons to his singing of his petitions to the governors, who were so moved that they pardoned him. The article's text ends with "he... may well be on the brink of a new and prosperous period."

Lead Belly failed to stir the enthusiasm of Harlem audiences. Instead, he attained success playing at concerts and benefits for an audience of leftist folk music aficionados. He developed his own style of singing and explaining his repertoire in the context of Southern black culture, taking the hint from his previous participation in John A. Lomax's college lectures. He was especially successful with his repertoire of children's game songs (as a younger man in Louisiana he had sung regularly at children's birthday parties in the black community). He was written up as a heroic figure by the black novelist, Richard Wright, then a member of the Communist Party, in the columns of the Daily Worker, of which Wright was the Harlem editor. The two men became personal friends, though Lead Belly himself was apolitical — if anything, a supporter of Wendell Willkie, the centrist Republican candidate, for whom he wrote a campaign song.
In 1939, Lead Belly was back in jail for assault, after stabbing a man in a fight in Manhattan. Alan Lomax, then 24, took him under his wing and helped raise money for his legal expenses, dropping out of graduate school to do so. After his release (in 1940-41), Lead Belly appeared as a regular on Alan Lomax and Nicholas Ray's groundbreaking CBS radio show, Back Where I Come From, broadcast nationwide. He also appeared in night clubs with Josh White, becoming a fixture in New York City's surging folk music scene and befriending the likes of Sonny Terry, Brownie McGhee, Woody Guthrie, and a young Pete Seeger, all fellow performers on Back Where I Come From. During the first half of the decade he recorded for RCA, the Library of Congress, and for Moe Asch (future founder of Folkways Records), and in 1944 headed to California, where he recorded strong sessions for Capitol Records. Lead Belly was the first American country blues musician to see success in Europe.

In 1949 Lead Belly had a regular radio broadcast on station WNYC in New York on Sunday nights on Henrietta Yurchenko's show. Later in the year he began his first European tour with a trip to France, but fell ill before its completion, and was diagnosed with amyotrophic lateral sclerosis, or Lou Gehrig's disease.[7] His final concert was at the University of Texas in a tribute to his former mentor, John A. Lomax, who had died the previous year. Martha also performed at that concert, singing spirituals with her husband.
Lead Belly died later that year in New York City, and was buried in the Shiloh Baptist Church cemetery in Mooringsport, 8 miles (13 km) west of Blanchard, in Caddo Parish. He is honored with a life-size statue across from the Caddo Parish Courthouse in Shreveport.