Johnny Winter Timeline 2003
This page covers Johnny Winter performances, concerts and tours during the year 2003 , quickly jump to the year: 2000 , 2001 , 2002 , 2003 , 2004 , 2005 , 2006 , 2007 , 2008 , 2009 , 2010, 2011, 2012, 2013
Steve Foster (a great Johnny Winter fan and excellent guitarists) meets Johnny Winter after the show to have his White Lazer signed.
Note: the size and quality of these photos have been reduced to improve the download time. To see the photos in full size and full quality, click on them.
Tuesday, 21 January 2003 - House of Blues
Wednesday, 22 January 2003 - Majestic Ventura Theatre
Recording of the new album is in progress Johnny and the band (Scott Spray on bass, Wayne June on drums, James Montgomery on harp and guest guitarist Paul Nelson appearing on the track "Shakedown") just finished a session in the studio this past week with producer Dick Sherman. The band laid down tracks for 5 songs for the new album that will be released on Virgin Records this year. Everyone involved were very pleased with the outcome and Johnny was in tip top shape.
Photo from left to right- Wayne June (drums), Scott Spray (bass), Johnny Winter (guitar), Dick Sherman (producer), James Montgomery (harp) and Paul Nelson (guitar)
Friday, 21 February 2003: Obsession Night Club, Randolph, NJ
Saturday, 22 February 2003: The Egg Theater, Albany, NY
Friday, 28 February 2003: Harper's Ferry, Allston, MA
Friday, 14 March 2003: Dennis Flyer Memorial Theater, Camden Community, Blackwood, NJ
Johnny Winter with K-Floor at 8 tonight at the Dennis Flyer Theatre, Camden Community College, College Drive and Little Gloucester Road, Blackwood. Tickets: $20 and $25. Phone: 856-338-9000.
It's just a matter of time before bluesman Johnny Winter passes over into the realm of myth. A rail-thin, extensively tattooed albino with an oversize cowboy hat, ghastly white hair, furiously expressive voice, and a knack for neatly placed guitar tirades, the former Muddy Waters sideman is, despite his diminutive stature, justifiably larger than life.
Saturday, 15 March 2003: Downtown, Farmingdale, NY
Friday, 21 March 2003: Jonah Hex: Riders of the Worm and Such
The Whittier Law School and the Motion Pictures Association of America et al. filed Amici Curiae briefs in the suit between musicians Edgar and Johnny Winters and DC Comics, Joe Lansdale, Tim Truman, Sam Glanzman, and DC's parent company, Time Warner. The Amici contain statements that the filers hope the Supreme Court of California will take into consideration before hearing the case on April 1st.
Amici Curriae are simply brief files with the Court for its consideration on a given matter. Organizations with vested interests for either the plaintiff of defendant can file amici.
Going into the background of the case, the matter began in 1996, when the Winter Brothers filed suit against Lansdale, Truman and Glanzman, writer, penciller, and inker, respectively, of DC's Jonah Hex: Riders of the Worm and Such
Worm was the second of three Jonah Hex stories produced by Lansdale, Truman and Glanzman - Jonah Hex: Two Gun Mojo was the first, in 1993, Worm was published in '95, and Jonah Hex: Shadows West was published in 1999. The problem with Worm according to the Winters was the creative teams' portrayal of "The Autumn Brothers," Johnny and Edgar, who were half-human, half-worm creatures which were allegedly the offspring of the rape of a human woman by a giant worm. In the three issues in which they appear, the Autumn Brothers are shown as having very light complexions and long white hair, similar to the Winter Brothers, who are albinos. The Autumn Brothers were eventually killed by Hex and his companions.
The Winters filed suit in Los Angeles Superior Court in March of 1996, claiming:
The Comic Book Legal Defense Fund joined the fight against the suit in May of '96, supporting the First Amendment rights of the creators to use public figures in satire and parody.
As Lansdale said in a CBLDF release, "It was our intent to use the Jonah Hex comic book series as a vehicle for satire and parody of musical genres, Texas music in particular, as well as old radio shows, movie serials and the like. We feel within our rights to parody music, stage personas, album personas, lyrics and public figures."
Shortly after the CBLDF joined the case, DC Comics itself signed on, defending its creators with the legal muscle of Time-Warner. In early 1998, the Los Angeles Superior Court granted summary judgment to the defendants and DC, in essence, throwing out the Winters' complaint.
In granting the summary judgment, the late Judge Ronald Cappai ruled that the series was protected as a parody, and cited Hustler Magazine v. Falwell (1988), in which, the Supreme Court applied First Amendment protection to a Hustler parody piece which suggested that Falwell engaged in an incestuous affair with his mother.
Truman told the CBLDF that the decision by the court was "a victory not only for us, but for any cartoonist who comments upon, or pays tribute to, the legacy of any public figure."
Not So Fast There, Cowboy
The Winter Brothers then appealed the decision, and had amicus brief filed by the National Organization for Albinism and Hypopigmentation in their support. In the appeal, which came down last June, the court upheld its decision to throw out the Winters' claims of defamation, invasion of privacy, and misappropriation of the names and likenesses under California common law ad the claims made under New York Civil Rights Laws, but ruled that the Winters had produced sufficient evidence that Jonah Hex: Riders of the Worm and Such was not "transformative" or a simple parody.
By "transformative," the appellate judge was referring to the Comedy III Productions vs. Saderup case in which the company holding the license for the Three Stooges sued artist Gary Saderup - and won - because the court felt that the artists' interpretations of the Three Stooges had moved from expression into merchandising, and was not transformative of the original subjects. That is, Saderup's image of the Stooges, which had been reproduced on t-shirts and lithographs, showing them not smiling, was no longer expressive art, but instead, commercial speech. As such, the First Amendment doesn't apply to it as it does to expressive speech.
The court in the Comedy III case upheld though, that the First Amendment does protect work that is transformative, and cited Andy Warhol's images of Marilyn Monroe, Elizabeth Taylor, and Elvis Presley as examples of expressive and transformative speech that would be protected. At the same time, the First Amendment, the Court said, does not guarantee the right to make commercial use of "a mere celebrity likeness or imitation." That is, a photorealistic image drawn by an artist for commercial use. Along with the Stooges, Saderup had found himself in a legal battle with Shaquille O'Neil over the same issue - but settled with the big man out of court.
Along with transformation, and the issue of commercial art, the Winters case, as with the Comedy III concerns the legal doctrine known as the "right of publicity." Similar to trademarks or copyrights, the right of publicity grants celebrities or their heirs the sole right to market their names and images.
On these grounds - that the Winters' right of publicity has been violated by the miniseries, the work was not transformative, and that the version of the Winter Brothers was shown in what the Court saw as commercial art - the case came back to life last year, and is now headed for the California Supreme Court.
So - boiling it all down, the core issue is whether California's right of publicity laws can apply to creative speech (which DC, the creators, and the parties who submitted amici contend that's what Worm is). No one is arguing that the right to publicity laws themselves are unconstitutional - just that in this case, the law was never intended to cover artistic expression Even simpler:
DC, Worm creators, MPAA, Wittier Law School, et. al.:
As cited in the original court ruling and the Whittier amicus, the Winters' Brothers portrayal in Worm is well, pretty graphic and ugly in both image and deed. Suffice it to say, no one would really want to see themselves made fun of in that manner except maybe.Rob Zombie to pick a name out of the air. Thing is, that's part of the price of being a celebrity. If you place yourself in the public eye, you're allowing yourself to be commented upon, from two people gossiping in the street to a guy at a computer keyboard writing a comic book script and another guy with a pencil in his hand.
It's part of the cost of being a celebrity and living a life in the public eye - for better or worse, and as weird as it sounds, part of "you" belongs to society, and society is free to do with it as it chooses - to a point (commercial exploitation and blatant defamation, for example aren't allowed). It's a weird analogy, but the same laws that the amici signatories feel should protect Lansdale, Truman, Glanzman, et al., protect editorial cartoonists and political commentators as well.
Their Amici, Your Amici, Wouldn't You Like Amici Too?
In the Whittier amicus, Professor David Welkowitz states that the Winters' claim of right of publicity violation is nothing more "than a defamation claim with a different label," and should be dismissed as such. Welkowitz also claims that the appellate court erred when it found Lansdale, Truman, and Glanzman's portrayal of the Winters Brothers not to be transformative.
Welkowitz states: "As this court noted in Saderup, the First Amendment requires that authors, satirists, parodists, and other social commentators be given the ability to lampoon, even tastelessly, public figures, free from the threat of litigation under the rubric of publicity."
That said, Welkowitz then argued that, given their portrayal as half-human, half-worm creatures who appear to have an insatiable appetite for violence and sex, while the real Winters Brothers are human musicians, their portrayal in Worm is sufficiently transformative to stand up under the Saderup decision.
Welkowitz also argues that, while the feelings of the Winters Brothers in light of their "tasteless portrayal" by the defendants is understandable, allowing them to succeed in their claim of right to publicity is "Tantamount to opening a serious, and unwarranted, loophole in the constitutional law of defamation, and would permit celebrities to censor unwanted criticism."
The Whittier Amicus also argues that the comic, while distasteful to some, is fully protected by the First Amendment, citing the appellate court's opinion in Saderup that creations do not lose their constitutional protections because they are for the purpose of entertaining rather than informing, and "the right of publicity derived from public prominence does no confer a shield to ward off caricature, parody and satire. Rather, prominence invites creative comment."
Again, claiming that Worm is, and always was intended to have an element of satire; it cannot be seen as commercial speech.
Interestingly, Welkowitz cited another case near and dear to the comic industry that supports the defendants - Doe vs. TCI Cablevision, or as its more commonly known 'round these parts: Tony Twist vs. Todd McFarlane. Citing that court's decision:
"If Falwell, Twist, or other public figures were permitted to prevail on a "right to privacy' or 'misappropriation of name" without satisfying the New York Times test [which rules that speech which does not state facts but inflicts serious injury to the dignity of a public figure was controlled by the First Amendment, as long as it did not meet defamation criteria], out First Amendment protections would be an illusion. Every public figure, under the guise of 'misappropriation' or 'right of publicity' could circumvent the First Amendment and prevent all speech about them that they do not like. This is clearly not the law."
"Although clearly distasteful," Welkowitz states, "the use of the plaintiff's images in the comic book amounted to a form of social commentary. It is important that we leave breathing space for such commentary, particularly when it is aimed at celebrities."
The MPAA amicus includes, all told: the MPAA, the Association of American Publishers, Inc., Authors Guild, Inc., Publishers Marketing Association, CBLDF, Dramatists Guild of America, Inc., PEN American Center, America Booksellers Foundation for Free Expression and the Freedom to Read Foundation.
The MPAA amicus focuses on four points:
Citing Saderup as well as Twist and many other similar cases, the MPAA amicus argues along the same lines as the Whittier amicus, reiterating the chilling effect a decision in favor of the plaintiffs would have on First Amendment rights.
And that's the crux - while the case at the center of this, two rock musicians suing over what they feel is an improper use of their likeness in a work of fiction, frankly, couldn't sound more stupid from the outside, the potential repercussions of the decision are huge.
The MPAA and signatories on their amicus are concerned about this case due to the fact that if the Winters' win on their case, any representation of a public figure in any entertainment context would become vulnerable - not to mention comics would be seen, legally, as commercial art and would be offered more limited protection under the First Amendment.
Sure - Samuel L. Jackson and Avery Brooks could sue Marvel and DC, respectively for their likenesses being used in The Ultimates and Stormwatch, but move away from comics and look at the bigger picture. If the Winters' Brothers claim stands, any public figure who did not like the presentation made of them in any given form could sue the creator and distributor/publisher of that work.
What's on the list of works that regularly use transformative images of public figures for expressive use? Editorial cartoons, MAD Magazine, Saturday Night Live, "unauthorized" biographies, and everything in between. Christina and Britney could sue if their images appear in something, even if it's meant as a parody, while George Bush Jr., John Ashcroft, and Donald Rumsfeld could sue cartoonists and newspapers if they didn't like how they were portrayed in the page 5 editorial cartoon - something which has always been an important avenue of political commentary and dissent.
If Winters wins, then could potentially be nothing to stop a well-funded and backed politician from threatening legal action against a cartoonist or newspaper. Rather than risk a loss in court, many papers would most likely settle, and as a part of the settlement, agree to remove the cartoonist, or the editorial cartoon altogether. Do not speak out against Big Brother.
It's a chilling extreme, but not one that is entirely unlikely if the Winters' succeed. - again, all that is needed is a precedent for future cases to stand on to make their argument. It could also be speculated that cases such as this is having a chilling effect on the material (and like materials) seeing print.
Of the three Jonah Hex stories by the creators, and despite being a genre that is outside of traditional superheroes (horror Western) only the first, Two Gun Mojo has been collected into a trade, but is currently out of print. Despite being a participant in the legal battle, it's fairly clear that DC would not want to be publishing a book, or have made money on a project whereupon it was decided that something contained therein broke the law. That is, if Worm was currently collected and in print, and DC and the creators had made money off of it, they could have to pay damages if the court sides with the Winters and awards damages. In a matter such as this, it potentially pays to keep one's head down.
On the outside, a Winters win could also affect a DC decision to collect and publish the Flex Mentallo miniseries by Grant Morrison and Frank Quitely. While specifics in the cases are not exactly the same (the Atlas company was suing DC, rather than individual people), the satirical and parody nature of the work was one of the points on which the Court based its opinion. If the Winters case shows that essentially no representation of a figure can exists as a transformative parody, all it would take would be an enterprising lawyer to take that decision for an individual (the Winters), and apply it to a company, i.e., Atlas.
If you want to go all conspiracy theory, of just a little, Winters v. the Worm crew could easily be seen as a continuation of a fight that's been going on since the victory in Hustler v. Falwell in 1988, in that this form of expression has been targeted by someone, and they are continually trying to knock it down to crush public commentary and dissent as well as expression.
More likely than that however, the Winters case is just the latest in a string of cases with the similar theme - celebrity is made fun of, celebrity doesn't like it, celebrity sues. All told, it's probably something that could be prevented if they would give guidebooks to every celebrity with rules of being a public figure in it. "Rule 1: People can, and will make fun of you - and sometimes, even though you don't like it, it's their right to do so."
That these cases get so high up in the judicial system is telling of their importance in our society, and the lengths that people are willing to go to make sure the law fully reflects their view. Safe to say, if Winters sees a victory in the California Supreme Court, the defendants (with the deepest pockets, that is, Time-Warner) will appeal it to the Supreme Court.
Friday, 4 April 2003: BB King's, Manhattan, NY
Friday, 25 April 2003: Toad's Place, New Haven, CT
Just minutes before Johnny Winter's performance at Toad's Place in New Haven , the legendary Texas blues guitarist was honored with an award recognizing him as the 'Most Requested Artist 2002' by Beef Stew, host/producer of the top-rated Sunday Night Blues radio program on 106.9 WCCC-Hartford.
While Johnny visibly appreciated the honor, one could tell that he wasn't about to embrace accolades.
He was more focused on accomplishing what he enjoys the most, and that was playing the blues.
Looking fitter than he has in quite some time, Winter's energy level manifested itself with both his gregarious playing and enthusiastic vocal work. Backed by a tight, three-piece band that included veteran harpist/vocalist, James Montgomery, the ensemble opened with the familiar Freddie King classic, "Hideaway."
While Winter did not race up and down his fret-board like he used to 15 years ago, his intricate, technically flawless playing was both fluid and melodic.
Part of the genius of Johnny Winter is his ability to know his limitations. On other tunes, like "She Likes To Boogie Real Low," "Good Time Charlie" and "Got My Mojo Working," his tasty chord playing was complemented with shorter-run, economic soloing.
The adoring audience, many of whom have seen the master perform more than 20 times, were impressed with his energy level and did not seem to care about his physical limitations -- needing his silver-tipped cane to walk on and off the stage and sitting in a chair during the entire set; symptoms caused by a hip ailment that he is recovering from. His connection to the fans represented all that was necessary to put on a memorable show.
On the slower "Black Jack," Winter amazed everyone with his dexterity and convincing vocal display. One could literally observe him hitting each note one at a time.
What his fans were witnessing was a brand of guitar-playing that was short on flash, but instead accentuated feeling and almost effortless skill. He brought the house down when he launched into his closer, "Johnny Guitar."
Again, his playing wasn't fast, but crystal-clear articulate and resonant. His companions, Montgomery, Scott Spray on bass, and Wayne June on drums and vocals, were so entrenched with each other and in perpetual sync that the phrase "orchestrated improvisational jamming" came to mind, especially on the aforementioned standard and the powerful "Sick and Tired."
Usually, Winter incorporates his slide-playing into the body of his sets. On Friday, he decided to devote his entire encore presentation to the slide -- and it was worth the wait.
Strapping on his signature Gibson Firebird, Johnny launched into "Mojo Boogie" and then stunned everyone with Bob Dylan's "Highway 61 Revisited," a song he performed routinely years ago.
His stripped-down blues interpretation of this classic was so original that it took several minutes to realize what he was playing. Although Winter is not scheduling many gigs on this tour, the world-class blues performer, who happens to live in Connecticut, is in the final stages of preparing a new studio CD release that will come out later this year. A few of these new songs were included in Friday night's set.
With 29 recordings and countless other collaborations added to his credit during a six-decade career, it's about time the Rock 'N Roll Hall of Fame took notice and installed one of the greats.
During the same period he also visited the BADD (Bikers Against Drunk Drivers) event to sign the 2003 Boss Hoss Monster Bike. Texas Blues Legend Johnny Winter continued his support for BADD today by signing the 2003 BOSS HOSS we are giving away at the end of our year long Awareness Tour. Tickets are available at all major motorcycle events all year and the winning ticket will be drawn March 6th 2004 in Daytona beach during Bikeweek. See our front page for details. It was a cold and wet night in New Haven but that did not stop Johnny from stepping out and signing the Monster.
Saturday, 3 May 2003: Black Music Festival, Salt, Girona, SPAIN
Guillems impressions of this concert:
I'm not really a Johnny's fan. I'm a 26 year old guy from Girona, Catalonia, Spain and I just heard him some times because my mother has one (or more?) of his albums. Some days ago I heard Johnny was going to play in Salt (a city that's not more than a part of Girona really) in a "Black music" festival, and I told my mother and she told me to take her there. I thought it could be a good idea because it can't be a bad concert.
The concert has been tonight. Now I just came back of it, and, as I discovered your web page and I found it interesting, I thought it could be interesting for you to have a little review.
Before Johnny there played an Argentina band called Pappa's Blues, and Johnny started about ten past midnight of this 3th-4th of may night. He played about an hour and a half. My first impression was to be shocked because I didn't expect Johnny to seem such an old man. He needed help to walk (he walked with a stick), sat down all the concert and his right leg was constantly trembling (and sometimes his right arm, when he wasn't playing his guitar) and seemed to have no teeth. Maybe that's obvious for a Johnny Winter's fan, but that's not my case (nor my mother's) and we felt shocked because he didn't seem an about 60 year old man, but about 80 or so. He seemed a really old man but his music was great. He played his guitar in a great way, except for some little discoordinations and this has been the second shock, I could say. The band members did a great job helping him to feel good, I think, and they are really good musicians.
Althought I liked most of them, I didn't know the songs. My mother said he recognized some of them, but she didn't rememnber the titles, if she looks for it in her records and you want it, I will send some of them further on. I only recognized the last of the two encores: Highway 61 Revisited, because I'm a big Bob Dylan's fan. By the way, the Johnny's version (I knew it time ago) is one of the few Dylan's covers that's so good as Dylan's own version.
Well, I'm afraid I can't tell you much more about it. I'll tell you I feel happy to have seen one of the legends of music in concert and I enjoyed it very much. And I could tell you I'm still shocked for his old look. Do you feel it normal? Is he ill? Ah! I saw in the latest photos of him that he had a beard. Not today.
Excuse me if my English isn't perfect, but I tried my best to express all my impreessions of the tonight's concert. If you want some more information, don't mind to ask me. I will answer if I have an answer. Congratulations for your web page.
Va sortir a escena com un avi de noranta anys -encara no en té seixanta- ajudat per un assistent i pel bastó; es va passar tot el concert assegut i la seva cama dreta no parava de tremolar, i quan cantava la seva veu castigada era inaudible en alguns moments. Però al final la màgia del blues es va produir i Johnny Winter va triomfar en el primer concert del Black Music Festival de Salt, que va tenir lloc dissabte a La Mirona. Acompanyat per una banda senzilla però competent -baix, bateria i veu / harmònica-, el guitarrista texà va agafar forces en una impressionant recta final, amb un doble bis en què el mite va renéixer
JOHNNY WINTER THRILLS THE PEOPLE IN LA MIRONA WITH THE MOST DRAMATIC BLUES
He appeared on stage as a 90 year-old man (he isn't 60 yet), helped by an assistant and his stick; he spend the whole concert sitting and his right leg never stopped trembling, and when he was singing his afflicted voice was unhearable in some moments. But at the end the magic of blues appeared and Johnny Winter triumphed in the first concert of the Black Music Festival of Salt, last saturday in La Mirona. Accompanied by a simple but competent band (bass, drums and vocals / harp), the Texas guitarist took forces in an impressing final stage, with a double bis where the myth was reborn.
BLUES // MITES VIVENTS
CORDES EN COMBUSTIÓ
Dos guitarristes de dilatat historial, el texà Johnny Winter i l'argentí Pappo, obren demà la segona edició del Festival de Blues, Funk i Soul de Salt, al costat de Girona
Johnny Winter, un heroi del blues, actua a Salt.
Lloc: La Mirona (Salt, Gironès)
Data: Dissabte, 3. 22.30 hores
Preu: 25 euros
Pelegrinatge a la vista per als fans de les llegendes del blues-rock: Johnny Winter, guitarrista sísmic i un dels puntals d'aquest gènere híbrid dels 70, ofereix una única actuació al Festival de Blues, Funk i Soul de Salt (Gironès), que en la segona edició acollirà, des de demà fins al 9 de maig, noms propis com el francès Nico Wayne, Los Deltonos i Big Mama. Winter despunta en el cartell, i l'atenció està justificada: el guitarrista albí, responsable d'un segell interpretatiu incendiari i personal sense caure mai en el mer virtuosisme, no s'ha prodigat gaire per Catalunya (encara es recorda el seu memorable bolo al Palau d'Esports de Montjuïc, el 18 de maig de 1990, que va coronar amb un coral i stonià Jumping Jack flash). Els seus discos clàssics, com Second Winter (1969) i Johnny Winter and (1970; amb l'ajuda d'un altre monstre, Rick Derringer), són peces de culte que segueixen corrent a base del boca-orella.
L'ESCENARI, COM A CASA
La carrera del guitarrista texà, de 59 anys, s'ha anat decantant cada vegada més cap al blues i ha deixat enrere els registres més inflamats que els anys 70 el van acostar al rock dur. I l'interès dels seus discos, tot s'ha de dir, ha decaigut, però la competència dels seus directes el converteix en idoni per als que encara creuen que veure avui Eric Clapton al Palau Sant Jordi és el favor més gran que se li pot fer al blues. A Salt, Winter es presentarà amb el suport d'una banda que ha rebut comentaris elogiosos, i que està formada per James Montgomery (veu i arpa), Wayne June (bateria) i Scott Spray (baix). Un quartet amb el qual el guitarrista evocarà aquell The best of Johnny Winter, que es va llançar l'any passat. I és recomanable està atent al teloner de la nit, Pappo's Blues, grup dirigit pel guitarrista Norberto Napolitano, Pappo. Un altre històric, en aquest cas del rock argentí, que és com dir del rock en castellà: Pappo va treballar a finals dels anys 60 amb dos grups iniciàtics, Los Abuelos de la Nada i Los Gatos (juntament amb Litto Nebbia), abans d'emprendre aventures com Riff i Pappo's Blues. Un heroi de la guitarra amb pedigrí.
Noticia publicada a la pàgina 7 de l'edició de Divendres, 2 de maig de 2003 de Viernes Per veure la pàgina completa, descarregui l'arxiu en format PDF
El Periódico - edició impresa Espectacles
MÚSICA // RECITAL
Johnny Winter sobreviu a la llegenda a Salt
El guitarrista va passejar el seu físic fràgil i el seu estil instrumental únic al Black Music Festival
Johnny Winter, durant la seva actuació a Salt, dissabte a la nit. Foto: JOAN CASTRO
La por planava sobre la sala La Mirona (Salt, Girona), on Johnny Winter va oferir, dissabte a la nit, una única actuació a Catalunya: ¿el guitarrista es trencaria definitivament, com ja va insinuar en la seva malparada actuació al Poble Espanyol, el 1999? Però l'albí va resistir. Ajudant-se d'un bastó per arribar a l'escenari i afrontant tota l'actuació assegut en una cadira. Els dits no li van fallar: fins i tot amb un fil de veu, Winter va sobreviure a un calorós temari de blues-rock que va servir l'obertura del flamant Black Music Festival de Salt. Com que fa uns quants anys que Winter ja no és aquella fera escènica dels dies de Captured live (1976), es cura en salut recolzant-se en un cantant i harmonicista (James Montgomery) que porta part del pes vocal del concert. Scott Spray (baix) i Wayne June (bateria) completen la greixada alineació. Al mig, un Winter vulnerable, amb la cama dreta tremolant de manera permanent, el barret vaquer i els braços blanquíssims tatuats. Tocant abstret, sense mirar més enllà del pal de la guitarra. Al sortir a l'escenari, davant d'un miler llarg de persones, hi havia motius per témer el pitjor. Però allò no va ser un funeral en vida: la vista ens mostrava un Winter envellit per als seus 59 anys; les orelles, un guitarrista encara lúcid. Fa molt temps que els concerts a base de solos de guitarra han derivat en caricatures, rituals redundants de taula de gimnàstica. I precisament per això s'aprecia veure un guitarrista solista amb coses a dir més enllà de les rutines dactilars per "la jungla de les sis cordes", que diria Salvador. Sí, Johnny Winter no té la tècnica de Joe Satriani ni la velocitat d'Yngwie Malmsteen, però el seu segell personal encara val més que qualsevol clonació efectista d'enèsima generació.
BLUES, ROCK I BOOGIE
Protegit per la veu robusta, l'harmònica assilvestrada i la presència escènica de James Montgomery, un Tom Jones del blues amb caixa toràcica de ciment armat, Winter es va acomodar a la cadira i es va ocupar de les seves coses, és a dir, d'extreure de la seva guitarra esgarrapades temperamentals (She likes to boogie real low) i filigranes delicades amb aroma rural (Blackjack, cantada per ell mateix). Es va dirigir al públic amb comptagotes i en un anglès xiuxiuejat difícil de desxifrar, i es va bolcar sobre un guió de blues més aviat inflamat, amb pòsit rocker i gestos de boogie ranquejant. Wayne June va tenir el seu moment de glòria, però, per sort, no va ser mitjançant un pesat solo de bateria, sinó cantant Tore down des dels tambors. I a la recta final van caure cartes segures com Got my mojo working (un clàssic del repertori de Muddy Waters), Mona (Bo Diddley) i el manifest Johnny Guitar. Molt a desgrat seu, perquè la mobilitat no és el seu fort, Winter va desallotjar l'escenari amb l'ajuda del seu bastó i d'un parell d'espatlles amigues per procedir a la cerimònia dels bisos. El punt final va ser un inflamat Highway 61 revisited, de Bob Dylan, que va transportar els presents fins a aquell Second winter, del 1969. En aquells temps, Johnny Winter era una tempesta escènica. Actualment, la tempesta ha remès, però queda la saviesa. I una evidència: els herois del rock (i del blues) s'estan fent grans.
Saturday, 10 May 2003: Trump Marina, Atlantic City, NJ
Monday, 2 June 2003: Jonah Hex: Riders of the Worm and Such come to an end
A comic book that illustrated mutant antiheroes inspired by albino blues musicians Johnny and Edgar Winter (news) did not violate their rights, a court ruled on Monday in a seven-year-old lawsuit.
DC Comics, a division of AOL Time Warner, included half-worm, half-human brothers Johnny and Edgar Autumn in a series called "Jonah Hex: Riders of the Worm" in 1995.
The brothers sued in Los Angeles Superior Court the next year, alleging the comic likeness of their facial and sartorial appearance subjected them to contempt and ridicule.
The California Supreme Court acknowledged the comic brothers did resemble the two musicians, and even took the unnatural step of attaching a replica of a comic book cover to the decision.
Yet the court ruled the images were so fantastic and altered that they were permitted under First Amendment freedom of expression rights.
"We can readily ascertain that they are not just conventional depictions of plaintiffs but contain significant expressive content other than plaintiff's mere likenesses," the decision said.
"To the extent the drawings of the Autumn brothers resemble plaintiffs at all, they are distorted for purposes of lampoon, parody, or caricature."
Vincent Chieffo, attorney for the Winter brothers, said they objected to their images being used to sell comics. But he added they did not sue after they were briefly shown more recently without authorization on the television cartoon "The Simpsons (news - Y! TV)."
Monday's decision contrasted a 2001 California Supreme Court decision that ruled that the portrayal of the Three Stooges on T-shirts was not sufficiently different to receive First Amendment protection.
That artist "essentially sold, and devoted fans bought, pictures of The Three Stooges, not transformed expressive works by the artist," the court said.
"Here, by contrast, defendants essentially sold, and the buyers purchased, DC Comics depicting fanciful, creative characters, not pictures of the Winter brothers."
The Winter brothers rose to prominence in the 1960s and became a favorite of hard-core blues and rock fans. Johnny Winter, who appeared at the seminal Woodstock festival in 1969, is a guitarist and Edgar is a keyboard player.
Sunday, 15 June 2003: Central Park, New York.
Johnny Winter welcomed by Hungarian Ambassador
At the invitation of blues legend Johnny Winter, Ambassador András Simonyi attended a concert in Central Park, New York as part of the Year of the Blues summer sessions. Mr. Winter, a guitarist from Texas, who has created a mass following and a style of his own from the sixties on, has influenced a generation of rock and blues musicians. On stage at the historic Woodstock concert, playing with Mike Bloomfield (whom he had met in Chicago in 1963) and with the greatest names in rock and blues, like Jimi Hendrix, Mr. Winter has always remained true to his roots -- blues, Texan style. He has been bringing his love of the blues to his fans for forty years. He is clearly one of the best blues singers in a business crawling with guitar honchos croaking out slurred vocal mannerisms. He plays fast and fluidly, while having a gritty spirit and a passion of the blues. The Ambassador got his first LP, Johnny Winter's self-titled debut album, in 1968. He considers Johnny Winter his musical hero.
A review of this concert:
A la pause le public a commencé a se rapprocher du devant de la scène et lorsqu?on a annoncé a la nuit tombante Johnny Winter ? les pauvres gens qui essayer de faire s?asseoir les gens masses au pied de la scène n?ont eu d?autre choix que de se lever eux aussi. At the break, the public started to move closer to the stage and when Johnny Winter was introduced, the crowd of people standing near the stage forced the poor people who were trying to remain seated to stand as well.
Et la j?ai pris une de ces claques en voyant arriver le fameux Johnny Winter ? il s?agissait d?un vieux monsieur avec une cane que l?on a accompagné jusqu'à la chaise devant ? cheveux blonds, longs, peau très blanches, yeux quasiment fermés tout le temps (je crois en fait qu?il est albinos) avec drôle de guitare tout bizarre.
There was clapping as the famous Johnny Winter took the stage. He looked like an old man with a cane and was accompanied while he went to a chair up front?.. blond hair, long, skin very white, eyes half closed all the time (I believe in fact he?s an albino) with a strange looking guitar.
?ai même cru que c?était une femme au début ? Bref il s?est assis, entoure d?un batteur, harmoniciste et bassiste. Le batteur a un look Blues Brothers mais a la place du chapeau une espèce de coupe de cheveux mi long derrière, banane de folie le tout gonfle comme une barbe a papa et pendant tout le concert il a essayer de rivaliser avec Jim Carrey au concours des plus belles grimaces.
I also thought he was a woman at first?. Soon he sat down, surrounded by the drummer, harp player and bass player. The drummer looked like a Blues Brother but had long hair instead of a hat all puffed out like a grandfathers beard and all through the concert he tried to outdo Jim Carrey?s facial expressions.
Le gars a l?harmonica pas mauvais du tout en faisait peut être un peu trop parfois. A la basse rien a dire. Quant a Johnny Winter même si au début j?ai cru déceler quelques imperfections (mais n?étant pas guitariste c?était peut être fait exprès) assez rapidement ce fut parfait .. assez impressionnant de voir ce gars qui ne bronche pas et dont seuls les doigts se baladent sur sa guitare.
The harmonica player wasn?t bad, but a bit over the top sometimes. There?s nothing to say about the bass. As for Johnny Winter I noticed some mistakes throughout (but me not being a guitarist, maybe they were on purpose) but quick enough to seem perfect?it was impressive to see this guy who didn?t move (react, respond?) with only his fingers dancing on the guitar.
Blues, rock un peu aussi, devant un public état d?admiration (et au pied de la scene plein de barbes, cheveux longs, collier d?indiens T shirt Willie Nelson, Harley Davidson etc ? et même un NIN ?!?). En dehors de quelques morceaux chantes par le gars a l?harmonica qui n?avait a mon goût pas assez de voix (ou était ce le micro ?) et une par le batteur les autres sont chantées Johnny dont la voix est parfois un peu couverte par les instruments.
Blues, a little rock, in front of admiring fans ( lots of beards, long hair, Indian necklaces (?), Willie Nelson T shirts, Harley Davidson, etc, (I have no idea what NIN is)). Outside a couple of tunes sung by the harmonica player who, in my opinion, didn?t have much of a voice (where was the microphone?) and one by the drummer, the others were sung by Johnny, whose voice was sometimes overpowered by the instruments.
Pas toujours évident de comprendre ce qu?il raconte ? Vers ce que j?ai cru être la fin il nous a joué ce qui doit être son hymne Johnny Guitar. Pendant un morceau James Cotton st venu piquer la place du gars a l?harmonica (ce qui n?était apparemment pas prévu) mais sympathique.
You sometimes couldn?t understand what he was saying (singing). I thought it was almost over when he did his trademark song Johnny Guitar. Part way through, James Cotton took the place of the harmonica guy (apparently this wasn?t planned, but it was congenial)
Il avait l?air bien âgé comme ça mais il a quand même joue plus d?une heure et demi avec un rappel au cours duquel il a change de guitare et je suis reparti le dos en compote ?
He looked like an old man, but he played for an hour and a half, with one encore for which he changed guitar ---------the last little phrase is something like ?his (the writer?s) back turning to jelly? maybe from standing for 1.5 hours..
Friday, 27 June 2003: "Blues-Festival, Bellinzola, , Switzerland
Saturday, 28 June 2003, Vienna, Austria
Photos, a video clip and some reviews of Johnny Winter at the Jazz Festival in Vienna, can be found on the web site of the "Jazz Fest Wien"
Monday, 30 June 2003: Anker, Leipzig, Germany
Monday evening I´ve seen Johnny Winter in Leipzig at a place called "Anker". It was sold out and there were maybe 1.500 - 2000 people.
It started like this: when we arrived at the hall (we were just coming from Berlin by car) in that moment also Johnny arrived in a taxi (together with a woman, I think it was his wife Susan). The crowd in front of the hall didn´t realize that and so Johnny and the woman went into the waiting tour-bus in the near. Johnny has more weight now than 3 years ago, when I last saw him in Barcelona. But as you all know, he nowadays looks much older than he really is and he walks very slowly and only with a helping hand. A guy who was in the first row told me later, that one arm and one leg were tembling sometimes.
An hour later started the support act, Gwyn Ashton from Australia. Interesting and talented electric guitar and dobro player in the tradition of Rory Gallagher. If he should come to your town, go out and see him !
At 9.15 Johnny came with his band. He was sitting in a chair all the time. They started with a not very fast version of Hideaway. I didn´t make a setlist during the concert, but the songs I recognized were Black Jack, Sick & Tired, Mona, Got My Mojo Working, Messin´With The Kid, She Likes To Boogie Real Low, Tore Down (the Freddie King song sung by the drummer) and Johnny Guitar. All those tunes were played with the Lazer guitar. For the two encores he used his good old Gibson Firebird and played slide: Mojo Boogie and Highway 61 ! There were also a few more tunes sung by the solid harp player James Montgomery, but I didn´t knew them.
My general impression is, that Johnny is a bit stronger and more concentrated than a few years ago. All the songs were played slower than we know them from records or shows let´s say ten years ago. He didn´t play fast but he didn´t make mistakes and had a better timing in comparism with the gig I´ve seen three years ago. Also his voice was a bit stronger than in 2000. The absolute highlight of the show was Highway 61 with fluent and fine slide guitar playing and good singing followed by Mojo Boogie and Messin`With The Kid. I also liked some other tunes, but there were some weak songs, too (Sick And Tired, Mona, Hideaway). His slide playing is much more fluent than the "normal" guitar playing.
For me it was interesting to see, how Johnny changed and developed (in a positive sense) from 2000 until now. But I´m sure that there were a lot of people very shocked to see him in this condition. Nevertheless the audience loved him and shouted "Johnny" again and again and wanted more encores.
Apparently this was the closing evening for "Das Anker", from the Leipiyger volkszeitung:
Abschied von den wilden Jahren mit Ikone Johnny Winter
"R.I.P." steht auf den Aufklebern, die viele an diesem Abend an ihre Blues-Kluft gepappt haben. Das steht für die lateinische Formel "Requiescat In Pace". Das Anker-Publikum zieht sicher die englische Übersetzung "Rest In Peace" vor: Es ist das letzte Konzert im "Ballhaus zum Goldenen Anker", das 1876 im Dörfchen Möckern errichtet worden war, um die städtischen Ausflügler anzulocken. Als Stadtteilzentrum scheint es 127 Jahre später entbehrlich. Für die Verantwortlichen dieser Stadt jedenfalls.
Am letzten Abend ist die Blues-Ikone Johnny Winter zu Gast. Keine Frage, bei diesem Mann wäre der Anker auch ohne den traurigen Anlass ausverkauft gewesen. Winter, Jahrgang 1944, ist sehr krank, muss auf die Bühne geführt werden, absolviert das Konzert im Sitzen. Seine Gitarrentechnik ist einzigartig und unerreicht. Er spielt die Saiten mit dem Daumen, mit einem Metallring offenbar, wie ihn Zitherspieler benutzen. Nur viel schneller!
Nein, dieser Abend ist keine Lehrstunde in Filigranität, früher hat er wohl auch sauberer gespielt. Aber es ist einfach 1-A-Kraftblues, die rein weiße Variante dieser eigentlich schwarzen Musik - und das groovt wie die Hölle. Winter hat eine exzellente Backing Band, Bassmann Scott Spray ist der zuverlässige Motor und James Montgomery der wohl beste Harp-Virtuose, der seit langer Zeit in dieser Stadt zu erleben war.
Schnell kocht die Stimmung. Das Durchschnittsalter im Publikum dürfte nur wenig unter 40 liegen. Auch Johnny Winter spürt, dass dies ein besonderer Abend ist. Wunderbarer Moment, als er, hingerissen von der Begeisterungswoge, beim Aufstehen sogar seinen Stock vergisst und so etwas wie ein Verbeugung hinkriegt.
Danach leert sich der Saal nur zögerlich, die Leute stehen draußen, bis sie der Regen wegtreibt. Lange Listen werden ausgefüllt (über 800 Unterschriften an einem einzigen Abend) und trutzige Postkarten an die Stadtväter geschrieben. Viele gehen noch mal rein in den Saal und atmen tief durch. Ein Abschied von einem Gutteil der wilden Jahre.
Die Anker-Besatzung hat sich nicht aufgegeben. Man sucht nach Alternativen. Die Kneipe bleibt offen und der Saal darf wahrscheinlich weiter betrieben werden - allerdings nur für maximal 99 Personen je Veranstaltung. Das reicht für Kinderfasching und Seniorentanz, gewiss nicht zur Erhaltung des Raumes. Es droht der schleichende Verfall. R.I.P.!
Another review of this Concert:
Der Mann aus Texas spielt seinen Blues
Schwer zu glauben, aber es gab eine Zeit, in der Blues die coolste Musik überhaupt war. In den 40-er und 50er Jahren tanzte man in den USA zu den neuen, wilden Klängen. Allerdings blieben sie zunächst eine Domäne der Schwarzen. Einer der ersten Weißen, die sich in den Sechzigern an den Blues wagten, war der Wahl-Texaner Johnny Winter. Am Montag spielte er im Leipziger Anker.
Hunderte Fans, meist in Jeans gehüllt, wollten die Chance nicht verpassen, den Saitenvirtuosen zu erleben. Es könnte nämlich durchaus das letzte Mal gewesen sein, dass "Johnny Guitar" unterwegs ist. Denn auch wenn die Tour unter dem Namen "Still Alive And Well" angekündigt wurde - so richtig gut geht es dem 59-Jährigen nicht. Seine Karriere wurde von Heroin-Konsum überschattet, mehrmals musste er dem Rampenlicht den Rücken kehren. Und wie er jetzt vor dem Konzert aus den Tourbus getragen wurde, ließ das Schlimmste über seine Gesundheit vermuten. Dass er im Sitzen spielte, war dann auch keine Überraschung mehr. Seine Gesangsstimme ist indes schon immer dünn und kreischend gewesen. Aber mit Unterstützung seiner soliden Band kam dann doch noch eine deftige Bluesrock-Maschine ins Rollen. Und Winter hat von seiner Begabung auf der Gitarre offensichtlich nicht allzuviel eingebüßt. Beim Blues wird die Glaubenswürdigkeit groß geschrieben. Das wichtigste ist, dass man dem Protagonisten seinen Schmerz abnimmt.
Winter wuchs als extrem sonnenempfindlicher Albino im Süden der USA (Bundesstaat Mississippi) auf - allein schon Grund genug, sich dem Blues zu widmen. Und man nimmt dem weißesten aller Blues-Gitarristen jeden Ton ab.
Mit Kapitänsmütze bringt Winter Klassiker nach Klassiker. Blues lebt von der Wiederholung, und so liefern er und sein Mundharmonika-Spieler James Montgomery Solo auf Solo über dieselben Harmonien. Beim Abschied winkt er mit seinem Wanderstab zum dankbaren Publikum. Erstaunlich, dass seine Arme, die so dünn sind, dass für seine Tattoos kaum noch Platz ist, noch die Kraft dazu hatten.
Links to Johnny Winter in Leipzig 2003
Johnny Winter's German Tour Cancelled
OFFICIAL PRESS RELEASE JULY 1st 2003
For immediate release:
After three successful European appearances last week, Johnny Winter cancels German leg of tour after repeated contractual violations by the promoter.
Rock/Blues guitar master Johnny Winter's first full European tour in many years began on Friday June 27th with a triumphant appearance at The Piazza Blues Festival in Bellinzona, Switzerland for promoter Bibo Verda. It was followed by a highly anticipated and well attanded outdoor show Saturday June 28th in Vienna, Austria for promoter Heinz Krassnitzer of Thom & Wolf GmbH.
But after a sold out show in Leipzig, Germany Johnny Winter was forced to cancel the German leg of his tour. "There were repeated flagrant violations of both the letter and spirit of our contract with German promoter Dirk Stolzenberg of Fabulous German Entertainment, GMBH," stated longtime Winter manager Teddy Slatus of Slatus Management. "We did our best to solve these repeated problems so that we would not dissapoint Johnny's fans, but when it became apparent that the promoter was endangerring the health and welfare of the band; we were forced to declare him in breach of contract."
Slatus and Johnny Winter's agent Bruce Houghton of Skyline Music refused to comment further due to possible legal action. "It is our sincere hope that the promoter will do the right thing and refund the tickets, but he has proven that his actions are beyond our control," concludes Slatus. More European dates are planned and Winter will be releasing his first studio CD in more that 6 years on Virgin Records early in 2004.
Johnny Winter hat seine Deutschland-Tournee abgebrochen!
Wir, Fabulous German Entertainment GmbH aus Lübeck, waren mit der Durchführung einer Deutschland-Tournee vom 30.Juni bis 18.Juli 2003 des Blues/Rock Gitarristen Johnny Winter aus den USA beauftragt. Der Künstler hat nach dem ersten restlos ausverkauften Konzert in Leipzig mitten in der Nacht samt Gefolgschaft heimlich die Stadt verlassen und somit den Abbruch der Tournee ab dem kommenden Tag mit einer ebenfalls bereits ausverkauften Show in Ulm provoziert. Auf der Homepage des Künstlers und in offiziellen Pressemitteilungen des US-Managements werden jedoch wir für den Tourabbruch verantwortlich gemacht. Die Fabulous German Entertainment GmbH stellt im Zusammenhang mit der Absage der Deutschlandtournee des US-Künstlers Johnny Winter folgendes klar:
Alle vertraglichen Forderungen seitens des Managements von Johnny Winter wurden von Fabulous German Entertainment GmbH detailliert erfüllt (inklusive Busausstattung, Geldzahlungen, Catering, etc.).
Der Künstler hat sämtliche Vorkassen vereinbarungsgemäß erhalten. Auch die vereinbarte Restzahlung für die kommenden Shows in Deutschland wurde am Montag, 30.06.2003 ordnungsgemäß gezahlt.
Der Vertrag zwischen Johnny Winter und Fabulous German Entertainment GmbH begann erst am Montag, 30.06.2003 mit dem Konzert im Anker in Leipzig. An eventuellen vorangegangenen Mißständen in der Schweiz bzw. in Österreich waren wir nicht beteiligt.
Der Bus-Transfer fand in einem sehr gut ausgestatteten Nightliner-Bus der Firma Coach Service GmbH statt, eine Firma die mit ihren erfahrenen und zuverlässigen Fahrern zu den führenden Anbietern in Europa zählt.
Die Backlinebetreuung wurde durch die Firma Backline & More GmbH, Herrn Hans Ostendorf, professionell durchgeführt. Ebenfalls eine Firma, die europaweit einen hervorragenden Ruf genießt.
Für die Unterbringung in Leipzig wurde mit dem Westin Hotel Leipzig eines der exklusivsten Häuser der Stadt gebucht. Fakt ist weiterhin, dass weder uns noch unserem Tourbegleiter oder dem Busfahrer gegenüber irgendwelche Beschwerden oder Wünsche geäußert wurden. Auch gegenüber dem australischen Support-Act Gwyn Ashton, der mit dem Bassisten der Johnny Winter Band und mit Mitgliedern der Johnny Winter Crew gut befreundet ist, äußerten diese sich durchweg positiv über die Veranstaltung in Leipzig. Von daher ist es für uns völlig unverständlich und nicht nachvollziehbar warum Johnny Winter bzw. sein Management die weiteren Konzerte abgesagt hat. Herr Günter Schubert vom Anker e.V. bestätigte ebenfalls noch einmal, dass die Veranstaltung in Leipzig reibungslos ablief, es vor Ort keinerlei Probleme gab und für das allgemeine Wohl und die Sicherheit des Künstlers durch personell allerhöchsten Aufwand bestens gesorgt war. Die Behauptung des Johnny Winter Managers Teddy Slatus, sie hätten alles versucht, die Fans nicht zu enttäuschen, ist völlig falsch. Tatsächlich hat das Management bei uns nur den Wunsch nach einem neuen Bus mit weiteren Sonderausstattungen geäußert. Dem wir nach mehreren Tagen harter Arbeit auch nachkommen konnten. Auf Grund der aktuellen Hochsaison und trotz europaweiter Anfragen konnte ein solcher Bus jedoch frühestens zum 03.Juli 2003 gestellt werden, was uns der Agent des Künstlers, Bruce Houghten von Skyline Music, am Sonntag dem 29.06.2003 als annehmbar auch schriftlich rückbestätigte. Das Ende der Tour war am 20.Juli 2003 geplant. Der neue Bus würde dann für den gesamten Tourablauf zur Verfügung stehen. Wir hatten uns dem Management gegenüber dazu bereit erklärt, die Mehrkosten von ca. 3.000,- EUR zu übernehmen, obgleich wir vertraglich dazu nicht verpflichtet waren und dem US-Management seit dem 16.Juni 2003 per Fax ein Grundriß des bisherigen Busses mit allen Ausstattungsmerkmalen und der Kontakt zur Busfirma vorlag. Wir legen Wert darauf festzuhalten, dass sich sowohl das Busunternehmen als auch wir an alle vertraglich fixierten Ausstattungsmöglichkeiten gehalten haben. Zudem hatte das US-Management seit dem 16.06.2003 die Möglichkeit eventuelle Sonderwünsche mit uns oder dem Busunternehmen abzuklären. Die Gesundheit und das Wohlbefinden der Künstler war zu keiner Zeit gefährdet.
Wir haben Strafanzeige beim Kriminalkommissariat für Wirtschaftskriminalität in Lübeck gestellt. Die Polizei ermittelt!
Die bereits gekauften Karten können an den jeweiligen Vorverkaufsstellen, wo sie zuvor erworben worden sind, zurückgegeben werden! Es tut uns sehr leid, dass die Tour von Johnny Winter auf so mysteriöse Art und Weise abgebrochen wurde, aber alles Bemühen unsererseits stieß beim US-Manager Teddy Slatus auf taube Ohren und gipfelte in einem Ausbruch wüster Beschimpfungen, welche die Unprofessionalität dieses Mannes dokumentieren. Ein entsprechendes Tondokument wurde sichergestellt. Zu keinem Zeitpunkt innerhalb der Tourvorbereitungsphase ist unsere Arbeit vom US-Management kritisiert oder gerügt worden. Dementsprechend können wir die nächtliche Abreise aus Leipzig mit unbekanntem Bus und unbekanntem Ziel nicht nachvollziehen. Zur Durchsetzung unserer Interessen werden wir in den USA Klage einreichen.
Herr Rechtsanwalt Jens Michow aus Hamburg bestätigt dazu: "Nach unserem Wissensstand ist kein Kündigungsgrund seitens des US-Management gegeben. Ein solcher Tourneeabbruch ist für uns derzeit nicht nachvollziehbar." Eine Meinung, die auch Herr Schlegel vom Kommissariat in Lübeck vertritt.
Fabulous German Entertainment GmbH
Johnny winter interrupted its Germany tour!
We, Fabulous German Entertainment gmbh out of Lübeck, were delegated with the execution of a Germany tour of that 30. June until 18. July 2003 of the blues skirt guitarists Johnny winter out of the USA. The artist left the city after the first completely sold out concert in Leipzig middle in the night including following secretly and provoked therefore the discontinuance of the tour from the coming day with an also already sold out show in Ulm. On the homepages of the artist and in official press releases of the US management, we responsibly are made however for the tour discontinuance. The Fabulous German Entertainment gmbh places Johnny winter in the connection with the refusal of the Germany tour of the US artist following clearly:
All contractual demands on the part of the management of Johnny winter were fulfilled of Fabulous German Entertainment gmbh detailed (inclusive bus equipment, money payments, Catering, etc.) The artist received all before cash registers agreement appropriate for. Also the arranged final payment for the coming shows in Germany was paid on Monday, 30.06.2003 regular. The contract between Johnny winter and Fabulous German Entertainment gmbh began first on Monday, 30.06.2003 with the concert in the anchor in Leipzig. At possible previous corruptions in Switzerland and/or in Austria, we were not involved. The bus transfer took place counts coach in a very well equipped Nightliner bus of the firm service gmbh, a firm that with its learned and dependable drivers to the leading bidders in Europe. The Backlinebetreuung became through the firm Backline & More gmbh, Mr. Hans East village, professional carried out. Also a firm that enjoys throughout Europe an outstanding call. For the lodging in Leipzig, hotel Leipzig was booked with the west one of the most exclusive houses of the city. Fact is further that neither nor our tour companion or the bus driver vis-à-vis any troubles or wishes were expressed to us. Also vis-à-vis the Australian Act Gwyn Ashton, that with the bass of the Johnny winters volume and with members of the Johnny winters Crew is well friendly, these expressed itself throughout positively over the organization in Leipzig. Of therefore, it is for us totally incomprehensible and not understandably why Johnny winter and/or its management the further concerts declined has. Mr. Günter Schubert of the anchor e. V. confirmed also once again that the organization in Leipzig expired smooth, it on the spot no problems at all gave and worried was for the general welfare and the security of the artist by personnel allerhöchsten expense best. Everything would not have tried the statement of the Johnny of winter manager Teddy Slatus, it to disappoint the fans, is totally incorrect. Actually the management expressed only the wish here after a new bus with further special equipment. That we after several days of hard work also come later could. On the basis of the current high season and in spite of transeuropean inquiries, such a bus could be placed however at the earliest to that 03. July 2003, what us the agent of the artist, Bruce Houghten of Skyline Music, on Sunday the 29.06.2003 as acceptable also in writing rückbestätigte. The end of the tour was planned at that 20. July 2003. The new bus would stand then for the total tour flow to the decree. We had explained vis-à-vis the management in addition ready, the additional costs of ca. to ourselves. 3.000 to receive- EUR although we were not obligated contractually in addition and existed the US management since that 16. June 2003 per fax an outline of the previous penance with all equipment features and the contact to the bus firm. We put to hold value on that that both the bus business and we complied with all contractually fixed equipment possibilities. Moreover the US management had special wishes possible since the 16.06.2003 the possibility with us or the bus business abzuklären. The health and the well-being of the artists was jeopardized to no time.
We placed punishment notice in the Kriminalkommissariat for economy crime in Lübeck. The police determines!
The already bought cards can at the respective before outlets where they were acquired before, returned become! It harms very that the tour was interrupted by Johnny winter on so mysterious type and manner, but all exertion unsererseits knocked us at the US manager Teddy Slatus on deaf ears and culminated in an outbreak of desolate outrages, which document the Unprofessionalität of this man. A corresponding sound document was guaranteed. To no moment within the tour preparation phase, our work of the US management was criticized or censured. Accordingly we cannot the nightly departure out of Leipzig with unknown bus and unknown goal nachvollziehen. To the execution of our interests, we will submit in the USA complaint.
Mr. lawyer Jens Michow out of Hamburg confirms in addition: "after our state of knowledge no notice reason is given on the part of the US management. Such a tour discontinuance is for us presently not understandable." An opinion that also Mr. Schlegel of the Kommissariat in Lübeck represents.
1 Jul 2003: Ulmer Zelt, Ulm, Germany
2 Jul 2003: Löwensaal, Nürnberg Germany
4 Jul 2003: "Festival", Skanevik, Norway
5 Jul 2003: Blues-Festival, Schöppingen/Münster, Germany
6 Jul 2003: Columbiahalle, Berlin, Germany
8 Jul 2003: Gewerkschaftshaus, Erfurt, Germany
9 Jul 2003: Zur Linde. Affalter, Germany
10 Jul 2003: Affalter, Munchen, Germany
12 Jul 2003: Blues-Festival, Pistoia, Italy
13 Jul 2003: Summer Festival, Salerno, Italy
15 Jul 2003: Stadthalle, Merzig, Germany
16 Jul 2003; Kuz, Mainz, Germany
18 Jul 2003: Fabrik, Hamburg, Germany.
19 Jul 2003: Prague, Czech
The concert was part of a two day open air blues fest in the middle of Strelecky island on the Vltava river in Prague. The place is really very small park and the audience counted 2000-3000? but I can be easily wrong about the number. What is more important Johnny closed the Saturday night and appeared just in time for his show, that lasted one and a half hour for everybody's satisfaction. Johnny looks older his age now, but his spirit was young and enthusiastic. He performed seated and was helped to and from the stage. His playing however was excellent! I didn't figure the complete setlist, but obviously it was similar for all the shows on the tour, since the band used old and used prints from previous nights. Johnny opened with Freddie King's Hide Away. Right at the end of this first song he introduced the band: Wayne June on drums and vocals (one song -Moona?), Scot Spray on the bass and James Montgomery on harp and vocals (for maybe three numbers). The vocal help was obviously to give Johnny few minutes to rest, because the songs he sang were way better handled. However he put all his energy in his guitar playing and didn't "cheat" on the jams at all.One song from the upcoming album (Start over again) was performed along among others such classics as Black Jack, Messin with the Kid, Got my mojo working and Johnny guitar. Not matter what his physical state was, Johnny played by the rules and briefly left the stage only to come in a moment for a two songs 20 minutes encore - Low down boogie and Bob Dylan's Highway 61.
The gig was held in a clean, lovely green park on a small island on the Vltava River in Prague, the pearl of Europe. At 8 hours pm the speaker announced that Johnny is already backstage, shall start within 15 minutes and asked the audience to take fotos only during the first three numbers otherwise the remaining part of the concert shall be cancelled.Our man arrived sharply as announced seemingly in a very good mood, had a wide smile,his face was thinner, not so pumped up as on 28. June in Vienna,his muscles stronger, sat down having a fine solo-impro to warm up his fingers and sarted Hideway.
It was clear from the first second that we see here a totally another man as three weeks before in Vienna,he is in a m u c h better shape, speedier guitarplaying, more concentrated, not stressed,much less trembling in his right hand and foot, stronger, more articulated voice.He announced all the numbers, dirigated the band members for their solos and impros, he enjoyed himself all the time in the 1,5 hours, played short, crystal clear, speedy solos without mistakes and had some succesful fine improvisations!!!The band joined to his impros and enjoyed themselves , played perfectly sharp,much freer as in Vienna.In case there would have been a live recording on this concert it coud be a huge success!He was almost in the same form as on Live in NYC in 1997-98, played practically this set plus new numbers from the new cd, sung by JM, one by the drummer, and some other old ones as Messin' with the kid, Mona / !!/, and than at the end the slide ones.The audience gave him a standing ovation!In case he could keep on recovering in this way he will be able soon to finish his recording and we all could be very happy and thank God ! The local promoter said that he is a warmhearted,goodwilling, easygoing person,without any world-star allures, who arrived days before, liked Prague very much.
Sorry for my basic English but I wanted to give back the athmosphere of the concert and telling you the good news.
Go Johnny Go! with love to ya all: Andras from Hungary
I was on last concert during European tour in Prague, 19th July. First 30 minutes it wasn't so much good, but last 20 minutes was very well, especially than he'd using bottleneck. But he still looks very tired. This links (bellow) is just about annoucement, that both Winters (brothers) are in Prague, before concerts. Sorry, at first I have to say, that's in Czech language. Roman
Links to reviews of Johnny Winter's concert in Prague:
More photos of Johnny Winter in Prague, taken by: Sergio Almeida and donated by: Silvio Almeida, click on the thumbnails to see the fullsize high quality photographs
Johnny and his band starts recording his new studio album at Carriage House studios in CT/USA
Photo from left to right- Wayne June (drums), Scott Spray (bass), Johnny Winter (guitar), Dick Sherman (producer), James Montgomery (harp) and Paul Nelson (guitar)
Friday, 8 August 2003: Penn's Peak Jim Thorpe, pennsylvania USA in the Pocono, Pa mountains
the first thing i must say is this is a perfect venue for a performer like jw. it is indoors and every seat gives you an execellent view along with two video screens. I was amazed at how many people just stumbled across the info that he was appearing there. the crowd was a true jw loving bunch.
there was an opening act called Wolf, which was not bad. they played from 8:30 till 9:30.
Johnny came out promtly at 10:00. He was seated in a chair in the center of the stage after walking out with his cane and minimal help from a band member. He opened the show with Hideaway and introduced the band. Most of the crowd eventually stood right in front of the stage to enjoy seeing jw up close. He remained seated for the whole show. He did get up and walk off and back for his encore songs. a few expressed some shock at how he looked-those who have not kept up with his condition as we do. He played the Lazar for his whole regular show and his usual guitar(which the name escapes me now) for his encores. Everone seemed to really enjoy his performance and the applause made johnny smile a few times. Johnny's right leg bounced up and down constantly during his set. People wondered how he could play with the guitar resting on it. He played though! I was pleased to see a living legend perform in front of me again! I thoroughly enjoyed the evening and will go again if possible. A new song from the soon to be released album was played but was sung by the harmonica player. I must say that i found the harmonica player and the drummer to be sound musicians; however i just didn't think thay fit in with JW. The bass player was excellent; i think i saw him with jw once before. I sure hope jw's health improves some more so we can all see him play again and again. I'm begining to ramble now so i better end this review. Maybe someone else from this list was there and will post something. I finish by saying that i loved this performance by my idol!
Friday, 7 November 2003: State Theatre, Falls Church, VA
Friday, 21 November 2003: Hartford, CT's Webster Theater
Don't know where to start. What a night of nights of great blues music.
Johnny Winter at the Webster. Johnny and company James Montgomery, Paul Nelson, and Wayne June delivered a superb performance that thrilled the Webster crowd big time! A smokin' show that included an incredible "Black Jack Game." And the "Firebird" encore of Mojo Boogie and Highway 61 was extra spectacular.
Sunday, 23 November 2003: Hartford Advocate, CT