Juke can refer to:

Look up juke in Wiktionary, the free dictionary.

• Juke (song), a harmonica instrumental recorded by Little Walter Jacobs
• Juke house, a form of electronic dance music originating from Chicago
• Juke joint, an informal establishment featuring blues music, dancing, and alcoholic drinks,
• Juke Kartel an Australian rock band
• Jukebox, a partially automated music-playing device that plays songs selected from self-contained media
• Juking, a sexualized form of dancing, associated with juke house
• Samsung Juke, a mobile phone created by Samsung for Verizon Wireless
• Nissan Juke, an SUV
• Juke Magazine (aka 'Juke'), an Australian national music industry newspaper published from 1975 - 1992,

People[link]

• Guy Juke (b.1951), aka De White, American graphic artist
• Juke Boy Bonner (1932—1978), the American blues singer, Weldon H. Philip Bonner

This page or section lists people with the surname Juke. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.

See also[link]

• Jukes (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

For the radio personality, see Little Walter DeVenne.

Little Walter, born Marion Walter Jacobs (May 1, 1930 – February 15, 1968), was an American blues harmonica player, whose revolutionary approach to his instrument has earned him comparisons to Charlie Parker and Jimi Hendrix,^[1] for innovation and impact on succeeding generations. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica.^[2] Little Walter was inducted to the The Rock and Roll Hall of Fame in 2008 in the "sideman" category^[3][4] making him the first and only artist ever to be inducted specifically for his work as a harmonica player.

Biography[link]

Early years[link]

Jacobs was born in Marksville, Louisiana and raised in Rapides Parish, Louisiana, where he first learned to play the harmonica. After quitting school by the age of 12, Jacobs left rural Louisiana and travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills on harmonica and guitar with Sonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards and others.

Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work. According to fellow Chicago bluesman Floyd Jones, Little Walter's first recording was an unreleased demo recorded soon after he arrived in Chicago on which Walter played guitar backing Jones.^[5] Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address or guitar amplifier. He could thus compete with any guitarist's volume. However, unlike other contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who had also begun using the then-new technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica, or any other instrument.^[1] Madison Deniro wrote a small biographical piece on Little Walter stating that "He was the first musician of any kind to purposely use electronic distortion."^[6]

Success[link]

Jacobs made his first released recordings in 1947 for Bernard Abrams' tiny Ora-Nelle label, which operated out of the back room of Abrams' Maxwell Radio and Records store in the heart of the Maxwell Street market area in Chicago.^[7] These and several other early Little Walter recordings, like many blues harp recordings of the era, owed a strong stylistic debt to pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson). Little Walter joined Muddy Waters' band in 1948, and by 1950, he was playing acoustic (unamplified) harmonica on Muddy's recordings for Chess Records; the first appearance on record of Little Walter's amplified harmonica sound was on Muddy's "Country Boy"/"Too Young To Know" (Chess 1452), recorded on July 11, 1951. For years after his departure from Muddy's band in 1952, Little Walter continued to be brought in to play on his recording sessions, and as a result his harmonica is featured on most of Muddy's classic recordings from the 1950s.^[8] As a guitarist, Little Walter recorded three songs for the small Parkway label with Muddy Waters and Baby Face Leroy Foster (reissued on CD as "The Blues World of Little Walter" from Delmark Records in 1993), as well as on a session for Chess backing pianist Eddie Ware; his guitar work was also featured occasionally on early Chess sessions with Muddy Waters and Jimmy Rogers.

Jacobs had put his career as a bandleader on hold when he joined Muddy's band, but stepped back out front once and for all when he recorded as a bandleader for Chess's subsidiary label Checker Records on 12 May 1952; the first completed take of the first song attempted at his debut session became his first hit, spending eight weeks in the #1 position on the Billboard magazine R&B charts – the song was "Juke", and it is still the only harmonica instrumental ever to become a #1 hit on the R&B charts. (Three other harmonica instrumentals by Little Walter also reached the Billboard R&B top 10: "Off the Wall" reached #8, "Roller Coaster" achieved #6, and "Sad Hours" reached the #2 position while Juke was still on the charts.) "Juke" was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national R&B hits of 1952, securing Walter's position on the Chess artist roster for the next decade. Little Walter scored fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two #1 hits (the second being "My Babe" in 1955), a level of commercial success never achieved by his former boss Waters, nor by his fellow Chess blues artists Howlin' Wolf and Sonny Boy Williamson II. Following the pattern of "Juke", most of Little Walter's single releases in the 1950s featured a vocal performance on one side, and an instrumental on the other. Many of Walter's vocal numbers were originals which he or Chess A&R man Willie Dixon wrote or adapted and updated from earlier blues themes. In general, his sound was more modern and uptempo than the popular Chicago blues of the day, with a jazzier conception and less rhythmically rigid approach than other contemporary blues harmonica players.^[1]

Jacobs was frequently utilized on records as a harmonica accompanist behind others in the Chess stable of artists, including Jimmy Rogers, John Brim, Rocky Fuller, Memphis Minnie, The Coronets, Johnny Shines, Floyd Jones, Bo Diddley, and Shel Silverstein, and on other record labels backing Otis Rush, Johnny Young, and Robert Nighthawk.

Jacobs suffered from alcoholism and had a notoriously short temper which led to a decline in his fame and fortunes beginning in the late 1950s, although he did tour Europe twice, in 1964 and 1967. (The long-circulated story that he toured the United Kingdom with The Rolling Stones in 1964 has since been refuted by Keith Richards). The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only film/video footage of Little Walter performing that is known to exist. Footage of Little Walter backing Hound Dog Taylor and Koko Taylor on a television program in Copenhagen, Denmark on 11 October 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany during this tour, showing Little Walter performing his songs "My Babe", "Mean Old World", and others were released on DVD in Europe in January 2009, and is the only known footage of Little Walter singing; other TV appearances in the UK and the Netherlands have been documented, but no footage of these has been uncovered. Jacobs recorded and toured only infrequently in the 1960s, playing mainly in and around Chicago.

In 1967 Chess released a studio album featuring Little Walter with Bo Diddley and Muddy Waters titled Super Blues.

Death[link]

A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on the South Side of Chicago. The relatively minor injuries sustained in this altercation aggravated and compounded damage he had suffered in previous violent encounters, and he died in his sleep at the apartment of a girlfriend at 209 E. 54th St. in Chicago early the following morning.^[1][9] The official cause of death indicated on his death certificate was "coronary thrombosis" (a blood clot in the heart); evidence of external injuries was so insignificant that police reported that his death was of "unknown or natural causes",^[9] and there were no external injuries noted on the death certificate.^[1] His body was buried at St. Mary's Cemetery in Evergreen Park, IL on February 22, 1968.^[9]

Legacy[link]

Music journalist Bill Dahl described Little Walter as "king of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy."^[2] His legacy has been enormous: he is widely credited by blues historians as the artist primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players.^[2][1] His influence can be heard in varying degrees in virtually every modern blues harp player who came along in his wake, from blues greats such as Junior Wells, James Cotton, George "Harmonica" Smith, Carey Bell, and Big Walter Horton, through modern-day masters Sugar Blue, Billy Branch, Kim Wilson, Rod Piazza, William Clarke, and Charlie Musselwhite, in addition to blues-rock crossover artists such as Paul Butterfield and John Popper of the band Blues Traveler. ^[1] Little Walter was portrayed in the 2008 film, Cadillac Records, by Columbus Short.

Little Walter's daughter, Marion Diaz Reacco has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little Walter. The foundation aims to create programs for the creative arts, including music, animation and video.

Awards and recognition[link]

• 1986 – Blues Hall of Fame: "Juke" (Classics of Blues Recordings – Singles or Album Tracks category)^[10]
• 1991 – Blues Hall of Fame: Best of Little Walter (Classics of Blues Recordings – Albums category)^[10]
• 1995 – Rock and Roll Hall of Fame: "Juke" (500 Songs that Shaped Rock and Roll)^[11]
• 2003 – Rolling Stone: Best of Little Walter (#198 on list of The 500 Greatest Albums of All Time)^[12]
• 2008 – Grammy Awards: "Juke" (Grammy Hall of Fame Award)^[13]
• 2008 – Rock and Roll Hall of Fame: Little Walter inducted (Sideman category)
• 2008 – Blues Hall of Fame: "My Babe" (Classics of Blues Recordings – Singles or Album Tracks category)^[10]
• 2009 – Grammy Awards The Complete Chess Masters: 1950–1967 (Best Historical Album Winner)

Discography[link]

Charting singles[link]

Little Walter released fifteen singles that made the charts during his career. These were issued on Checker, a Chess subsidiary; the chart information is the peak position the single reached on the Billboard R&B chart.

*Also reached #106 on the Billboard Pop chart.

Selected albums[link]

As with most blues artists before the mid 1960s, Little Walter was a singles artist. The one album released during his lifetime, Best of Little Walter, included ten of his charting singles, plus two B-sides. After his death, various singles would be compiled on albums, often with significant overlap. Currently available albums, released by the most recent Chess successor, are as follows:

Little Walter also recorded a number of songs as a sideman. Muddy Waters' The Definitive Collection (2006) and Jimmy Rogers' His Best (2003) (both on Universal) featured a selection of songs with Little Walter as an accompanist.

References[link]

External links[link]

• [2] Little Walter Foundation website
• Little Walter at bluesharp.ca
• 1980 Blues Foundation Hall of Fame induction

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Gant Garrard (pronounced Jerrod), also known as Gant-Man (born 1979) is a Disc jockey who was introduced to mixing in the early 1980s by his older brother and learned how to count beats and blend records at the young age of 5 with Hip hop, New York garage, Chicago house, Electronic and Disco music.

Biography[link]

At age 10 he was ready to share his talent with the world and began mixing on a college radio station in Chicago WKKC 89.3 FM where he mixed from 1989 through 1997. At age 15 in 1995, Gant produced his first EP for Dance Mania called "It's About Time" which spawned the Chicago Underground smash 3 Blind Mice which was built around the theme music from The Three Stooges television show. He became known in Chicago as the Youngest Professional DJ and is attributed to being one of the main key innovators of Ghetto Juke House.

At age 18 he began to travel, playing both the Rave and club circuits in the U.S. as well as in Europe. In 1998-99 Gant was playing in Paris at Le Queen and Gibus as well as in Geneva, Switzerland at the Lake Parade prepared him for his Summer 2000 residency in Ibiza, Spain at El Divino alongside Paul Johnson and DJ Skip. You Gotta Get Up was a huge success on Dust Traxx Chicago that was even reissued with Paul Johnson remixes and continues to be repressed due to relentless demand. Gant has recently teamed with 2004 Grammy award winning producer Maurice Joshua to work on remix production for Beyoncé, Destiny's Child and other major artists as well as submitting Juke House remixes to major labels hoping the A&R's will give Gant a chance to exploit this long awaited underground Chicago sound that has been around since 1992.

As of December 2005, Gant is the first DJ/producer to have a Chicago Juke house remix for a major artist on a major label with his remix for Beyonce's "Check On It" featuring Slim Thug on Columbia/Sony Records. For the past couple of years multi-talented Gant has silently leaked his hip hop producing skills to the rap industry. 2006 his Juke remix of "Shake & Pop" is one of highest downloaded tracks in Juke House music. 2007 Gant-Man teamed with A-Trak and new artist Kid Sister and released Control/Damn Girl Juke Remix. Now with 17 years of being a DJ, 12 years of producing tracks and releasing production on labels like Columbia, Riviera, Dust Traxx, Treehouse, Bunchlox, R&R Records, Fools Gold, and Dance Mania, his career has become more prolific with each passing year. He is one of the up and coming producers to watch in 2008. Gant has the experience to move crowds all over the world with his House, Ghetto Juke, old school & Hip-Hop sound and will move any crowd he is given the chance to.^{[citation needed]}

External links[link]

• Gant-Man on Myspace
• Interview with Gant-Man on Centerstage Chicago (December 2007)