Jim Dickinson

Nacimiento : 1941-11-15, Little Rock, Arkansas, U.S.

Muerte : 2009-08-15

Historia

James Luther Dickinson was an American record producer, pianist, and singer based in Memphis, Tennessee. He released several solo albums, but his greatest talent lay in helping other artists realize their potential, among them Aretha Franklin, the Rolling Stones, Ry Cooder and Bob Dylan. He produced recordings for performers as diverse as Willy DeVille, Green on Red, Mojo Nixon, the Replacements, Tav Falco's Panther Burns, Toots and the Maytals and Screamin' Jay Hawkins. As a session musician, he played piano with the Rolling Stones for their recording of "Wild Horses" at Muscle Shoals Sound Studio in December 1969; contributed to the Flamin' Groovies' album Teenage Head in 1971; worked with Ry Cooder on nearly a dozen records beginning in 1972; recorded a one-off single "Red Headed Woman" with the Cramps in 1984; and played electric piano and pump organ on Bob Dylan's 1997 album Time Out of Mind.

Películas

Johnny Cash's America
Johnny Cash's America
Self - Memphis producer
This classic concert features a number of tracks from his new album coupled with favourites from across his career including Folsom Prison Blues, I Walk The Line, Ghost Riders In The Sky, Orange Blossom Special and San Quentin.
Stranded in Canton
Stranded in Canton
Music
In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.
La frontera
La frontera
Music
En El Paso, punto fronterizo entre México y los Estados Unidos, es frecuente el tráfico de drogas y el paso clandestino de inmigrantes ilegales, lo que lo convierte en un lugar especialmente peligroso para la policía. Charlie Smith es un guardia de frontera que vive en permanente conflicto con su conciencia.
Running Fence
Running Fence
Music
Second in the series by the Maysles brothers documenting the monuments/sculptures of Christo, whose art projects are landscape-scaled, and more "pop" performance art designed to question how we relate to art in the public sphere, especially when it's as oblique, non-political (at least, that is what he would claim), and neutral as running a fence through a landscape.