Albert began playing guitar at an early age. His uncle, the legendary Piano Red, noticed that Albert was actually playing self-made chords on a ukulele at the age of nine. Red sent Albert to take lessons from his guitarist, Wesley Jackson. Albert and his friend Marion Smith were soon camped out in front of juke joints, playing and singing for tips.
In early 1962, Albert became the bandleader for Piano Red’s “Dr. Feelgood and the Interns.” Red had scored a hit with his song “Dr. Feelgood” and dressed his band in intern jackets and nurses uniforms. One of the “nurses” was Beverly “Guitar” Watkins who became a lifelong friend to Albert. When Red disbanded, Albert joined the “Tams” from the late 60’s to the early 70’s, and by the mid 70’s, joined Hank Ballard and the midnighters.In recent decades, Albert’s own sound emerged, gigging with musicians in Atlanta, Georgia. Albert is currently touring the globe with the Music Maker Revue with his blues that makes everybody “Feel good."
Earlier this year, Canadian multi-instrumentalist, singer, songwriter and producer Devin Townsend played an incredible sold-out show at London's legendary Royal Albert Hall venue, bringing the story of Ziltoid to life on stage as well as playing tracks from across his back catalogue…
Here is a superb recital following Piers Lane’s earlier Hyperion release of d’Albert piano concertos (4/96) and, once again, provoking astonishment that music of such quality could have lain neglected for so long. Variety is, indeed, the spice of d’Albert (1864-1932), the legendary, six times married pianist so greatly admired by Liszt. Tending to leave his wives as soon as they bore him children (one for the Freudians), his occasional sense of confusion – including an outburst to Teresa Carreno, his second conquest, “Come quickly, my child and your child are fighting with our child” – hardly detracted from a dazzling career and a series of compositions of a special richness.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.