BIG WALTER HORTON Albert Collins Doug Sahm blues POSTER

This is an original single sheet printed paper handbill advertisement (sometimes known as a mini-poster, flyer or print) for a concert performance gig by professional musicians at a live music venue.Big Walter HortonJuly 9-15, 1989 Antone's Night Club Austin, Texas Big Walter Horton is featured on this first-and-only-print 14th Anniversary poster featuring fine art by Danny Garrett.Unhung 12" x 15" glossy print in excellent to near mint condition8 of 10 or better.Performers that week included Doug SahmAngela StrehliKim WilsonLou Ann BartonMel BrownAlbert CollinsCalvin JonesPinetop PerkinsOtis RushSnooky PryorJimmy RogersHubert SumlinWillie SmithLuther TuckerBob StrogherTed HarveyLavelle White Big Walter "Shakey" Horton (Born Apr 6, 1917 in Horn Lake, MS Died Dec 8, 1981 in Chicago, IL) is one of the all-time great blues harp (harmonica) players. Along with Little Walter, Horton defined modern amplified Chicago-style harmonica. There is no harp player (and that includes Little Walter) with Horton's big tone and spacious sense of time. Horton (who is said to have been somewhat shy) was not a natural group leader and therefore has produced few solo albums. His best work is as a sideman; his backup harmonica and virtuoso harp solos have graced many great Chicago blues recordings -- turning an otherwise good cut into a dynamite jam.Walter is the master of the single note and his characteristic walking bass line (usually with a deep tone and selection of notes that is unsurpassed) is instantly recognizable. As an accompanist, he has few equals. His backup harp is always unobtrusive yet bright and fresh -- enhancing whatever else is going on. Give Big Walter a chance to solo and you are in for some of the most tasteful lines Chicago-style harp has ever produced. He made a specialty of playing entire tunes (often in blues style) on the harmonica ("La Cucaracha," "Careless Love," "I Almost Lost My Mind," etc). This might sound trite, but give them a listen. You'll see. As for harmonicas, he used Hohner's Marine Band. He was just as comfortable playing first position (A harp in the key of A) as with the more standard cross harp (D harp in the key of A). He did not do much with chromatic harmonicas. Although Big Walter could play in the style of other harp players (and was often asked to do so), he has no credible imitators. He is one of a kind. Walter Horton was born in Horn Lake, MS (April 6, 1917), but his mother soon moved to Memphis where Walter taught himself how to play the harmonica at five years of age. He later learned more about his instrument by working with harp players Will Shade and Hammie Nixon. In the late '20s, he performed and recorded with the Memphis Jug Band (1927) and generally worked the Southern dance and juke-joint circuit as well as Memphis street corners. Horton moved to Chicago in the late '40s, but was often to be found back in Memphis for recording dates with Sun and Modern/RPM labels. He claimed to be blowing amplified harp as early as 1940, which would make him the first. Johnny Shines recalls that Sonny Boy Williamson (Rice Miller) used to come to Walter for lessons. He also says that he used the name "Little Walter" before the Little Walter Jacobs did, but gave it up to Jacobs. Jacobs acknowledges that he "ran" with Big Walter in Memphis during the 1940s. Horton later called himself "Big Walter" to distinguish himself. The term "Shakey" came from the way he moved his head while playing. He recorded four sides in 1951 for the Modern/RPM label under the name "Mumbles," but was not fond of that moniker. It was not until 1953 that he really left Memphis and relocated to Chicago to work as a sideman with his friend Eddie Taylor. He soon joined the Muddy Waters band (replacing Junior Wells, who had been drafted into the military) and played with Muddy for about a year. Over the next few years, Horton worked with Chicago blues artists such as Johnny Shines, Jimmy Rogers, and Otis Rush -- both in the Chicago blues clubs and at record studios. He recorded with Chess, Cobra, and States throughout the 1950s. During the 1960s, Horton continued to work with Jimmy Rogers, Shines, Tampa Red, Big Mama Thornton, Robert Nighthawk, Johnny Young, and Howlin' Wolf. In the 1970s, Walter was active in the blues clubs, in recording studios, and also began to appear at blues and folk festivals -- primarily with Willie Dixon's Blues All-Stars. He died in Chicago on Dec. 8, 1981, and was inducted into the Blues Foundation's Hall of Fame in 1982. While his early acoustic recordings in Memphis (1951-1954) are excellent, it is the recordings from the late '50s and mid-'60s that are unrivaled. When Horton's music is discussed in print, often the reference is to his later albums on Blind Pig (Can't Keep Lovin' You and Fine Cuts) and Alligator (Big Walter Horton with Carey Bell). I don't want to take anything away from these albums, but this is not what has made Walter a legend. Here is what has: The recording of "Easy" with guitarist Jimmy DeBerry (recorded by Sam Phillips of Sun Records in the early '50s) is a striking harp instrumental that remains unrivaled for sheer power. For a superb example of Big Walter playing behind Muddy Waters (and soloing), try the cut "Mad Love (I Want You to Love Me)" that was recorded in 1953. Walter also plays on the classic Jimmy Rogers tune "Walking by Myself," on the Otis Rush tune "I Can't Quit You Baby," and many others. Also hear great Walter on the Flyright album, Johnny Shines & Robert Lockwood, Joe Hill Louis: The Be-bop Boy on Bear Family, Memphis Harmonica 1951- 1954 on Sun, and The Blues Came Down from Memphis on Charly. This last album contains the incredible instrumental, "Easy." Walter's singing is seldom mentioned except in an apologetic way. This is something I have never understood. I love to hear Walter sing and his singing style has all the elements of his harp playing, in particular, sincerity and (above all) humor. Make a point to listen to some Big Walter songs like "Need My Baby," "Everybody's Fishin', "and "Have a Good Time." They are priceless. His original recording of "Hard Hearted Woman" on the album Chicago Blues -- the Early Fifties (Blues Classics) never fails to raise the hair on the back of my neck. His hard-to-find first album for Chess, The Soul of Blues Harmonica, is also worth a listen, although not definitive. But if you want to hear Walter at his best, pick up the Vanguard CD Chicago/The Blues/Today!, Volume 3 and listen to the music Walter lays down. Both as backup harp and in solos, this is not only classic Big Walter, but Chicago blues at its finest -- not to be missed. The music on this album is incredible -- Horton's contrapuntal backup harp seems to float in the background, loping along, always stretching and opening up the time. And Horton's taste in notes and depth of tone is unparalleled in the history of amplified Chicago-style harmonica. As Willie Dixon says, "Big Walter is the best harmonica player I ever heard." I agree. He was the man. -- Michael Erlewine -- All Music GuideGuitarist, composer, arranger and songwriter Doug Sahm -Born Nov 6, 1941 in San Antonio, TX Died Nov 18, 1999 in Taos, NM - was a knowledgeable music historian and veteran performer equally comfortable in a range of styles, including Texas blues, country, rock & roll, Western swing and cajun. Born November 6, 1941 in San Antonio, Texas, he began his performing career at age nine when he was featured on a San Antonio area radio station, playing steel guitar. Sahm began recording for a procession of small labels (Harlem, Warrior, Renner and Personality), in 1955 with "A Real American Joe" under the name Little Doug Sahm. Three years later he was leading a group called the Pharoahs. Sahm recorded a series of singles for Texas-based record companies including "Crazy Daisy" (1959), "Sapphire" (1961), and "If You Ever Need Me" (1964). After being prompted in 1965 to assemble a group by producer Huey Meaux, Sahm asked his friends Augie Meyers (keyboards), Frank Morin (saxophone), Harvey Kagan (bass) and Johnny Perez (drums), if they would join him. Meaux gave the group the name the Sir Douglas Quintet. The group had some success on the radio with "The Rains Came," but Sahm later moved to California after the group broke up, where he formed the Honkey Blues Band. He reformed his Quintet in California and recorded a now-classic single, "Mendocino." The resulting album was a ground-breaking record in the then-emerging country-rock scene. The Sir Douglas Quintet followed Mendocino with Together After Five, another album that led them to a larger fan base. But it was Atlantic Records producer Jerry Wexler who realized that country rock sounds were coming into vogue (and there was no place in Nashville for people like Sahm), so he signed both Sahm and Willie Nelson. One of his greatest albums, Doug Sahm and Band, (1973, Atlantic) was recorded in New York City with Bob Dylan, Dr. John and accordionist Flaco Jiminez, and a resulting single, "Is Anybody Going To San Antone?" had some radio success. The Sir Douglas Quintet got back together again to record two more albums, Wanted Very Much Alive and Back To The 'Dillo. Among Sahm's most essential blues records are Hell of a Spell (1980, reissued in 1999), a blues album dedicated to Guitar Slim, and his Grammy-nominated studio album for Antone's, The Last Real Texas Blues Band. For his other material, there are several good compilations, including The Best of Doug Sahm (Rhino). SDQ '98 followed. Sahm died November 18, 1999; the posthumous The Return of Wayne Douglas appeared the following summer. -- Richard Skelly All Music GuideGuitarist Luther Tucker was born on January 20, 1936, in Memphis, TN, but relocated to Chicago's South side when Tucker was around seven years of age. His father, a carpenter, built Tucker his first guitar and his mother, who played boogie-woogie piano, introduced him to Big Bill Broonzy around th