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From this session the Biharis issued ''Black Gal'' and ''Jumpin' Blues'' on their subsidiary label, RPM 338. The piano was supplied by Phineas Newborn Jr. This time he had assembled a new set of musicians with a meatier, electric sound, and the four sides cut on this date were underpinned by Calvin Newborn's amplified guitar, whichĪlmost dominated the session. Phillips got Horton back to the studio in June 1951. On the labels he was credited as "Mumbles". These first sessions the Biharis selected ''Little Boy Blues'' and ''Now Tell Me Baby'' for Horton's first release on Modern 20-809. An unknown pianist is just audible on ''Little Boy Blues'' and ''I'm In Love With You Baby''. Horton, who was accompanied by Joe Hill Louis on guitar and drums, and possibly a dancer with bottle tops on his boots, producing a novel clickety-clack effect. Horton and Jim Lockhart back to his studio, where he recorded sample auditions for the Biharis.ĭuring subsequent weeks he cut further sessions with It has been reported that he went down to Handys Park and brought both In early 1951 Phillips recorded Walter Horton. Throughout the following two years Phillips mailed many auditions of various blues acts to Modern. Subsequently the Biharis made a deal with Phillips where he would ship finished blues masters King's first recordings were cut at The Memphis Recording Service. King, who had recently signed to their label. In town to oversee the recording sessions of B.B. At that time the Bihari brothers of Modern Records were Modern Records, based in California was one of the first to recognise the potential of the city.ġ950, Sam Phillips opened his own studio, The Memphis Recording Service, on 706 Union Avenue and began to record local blues talent, including Joe Hill Louis, Lost John Hunter and Phineas New- born Jr. Inroads into the city looking for talent.
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The indie labels from outside of town began making King, Rosco Gordon, Howling Wolf, Ike Turner, Bobby Bland and Johnny Ace - got their start in the city. The city was overflowing with talent and many of the top artists in the blues - including B.B.
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With the boom in postwar rhythm and blues recording, Memphis became a hotbed of recording activity by the earlyġ950s. Throughout the 1940s Horton perfected his harp playing technique and worked the Delta juke joints On a 1939 recording date with Buddy Doyle for Vocalion. He made his first trip to Chicago in 1937, and on his return to Memphis he began hanging around with musicians like Jack Kelly and Little Buddy Doyle at Handys Park on Third and Beale Street. His health meant he had to give up various back-breaking jobs such as icehauling and he began scuffling around for a living, optingįor a career in music. The young Walter was given a harmonica when he was five, and by his teens he was playing on the street for pennies. While a child his family moved to Memphis, where his father, Albert, lookedįor work. Walter Horton was born on the April 6, 1918, in the Desoto County town of Horn Lake, which is just south of Memphis in Mississippi. Horton subsequently made his move to Chicago some years later, but not before he made some classic sides at Sam Phillips' Memphis Recording Service. Went on to stardom as a solo performer on Checker Records. Little Walter later left for Chicago where he joined Muddy Waters' band and later Little Walter met Walter Horton in Memphis during the 1940s where they exchanged ideas. Even a negro, Deford Bailey, featured the harmonica on the snowy-white Grand Ole Opry in Nashville for many years. Of Appalachia, to wandering minstrels, and jug bands of the delta. The harmonica, or French harp as it was known in the south, had been a staple instrument in the rural southern states and was widely used by black and white musicians alike, from cornball hillbillies Their amazing virtuosity changed the role of the instrumentįrom a solo one to a band instrument and they did for the harmonica what Coleman Hawkins and Lester Young had done for the tenor sax in jazz, shaping their harmonica blues tones into breath-taking instrumental solos. Harmonica playing and they pioneered the electronically amplified harmonica during the forties. These gifted musicians transformed the whole concept of However, two artists that stood way out in front and could not be challenged were Little Walter (Jacobs) and Big Walter Horton. Junior Wells, Snooky Pryor, George Smith, Papa Lightfoot and Slim Harpo. The world of post-war blues harmonica was wide and varied and many names go to make up the story: the two Sonny Boys,