Clarence "Gatemouth" Brown

小簡(jiǎn)介
Clarence Brown的音樂生涯從上世紀(jì)40年代就開始了，憑借兩首布魯斯歌曲Okie Dokie Stomp和 Ain't That Dandy打響名聲。Clarence除了玩布魯斯音樂外，還玩爵士、鄉(xiāng)村，甚至柴迪科舞曲(美國(guó)一種黑人舞曲)也難不倒他，可以說(shuō) Clarence是音樂的萬(wàn)事通。
Clarence出生在路易斯安那州，在德州長(zhǎng)大，童年時(shí)代受兩地不同音樂影響，這也是他音樂多樣性的根源。Clarence 經(jīng)常說(shuō)他對(duì)音樂的熱愛是受到做鐵路工人的父親影響，他父親曾經(jīng)在一支樂隊(duì)里面彈小提琴和做主唱。Clarence希望自己彈吉他的聲音可以像他父親拉小提琴那樣。Clarence少年的時(shí)候曾經(jīng)在一支搖擺樂隊(duì)當(dāng)過(guò)鼓手，因?yàn)樗纳畛谅曇?，人們給了他一個(gè)綽號(hào) Gatemouth Clarence Brown一生錄制了30多張唱片，并且在1982年獲得葛萊美獎(jiǎng)。
Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.
Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)
In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.
Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).
The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.
When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX.