A Quote by Brownie McGhee

I met Sonny after (Blind Boy) Fuller died, and me and Sonny played in the streets like everybody else. — © Brownie McGhee
I met Sonny after (Blind Boy) Fuller died, and me and Sonny played in the streets like everybody else.
From then on in, me and Sonny started makin' records. My first records, Sonny was backin' me up. Sonny wasn't singin' natural at the time; he was singin' falsetto.
The best compliment came from Knopf's Sonny Mehta. We were at lunch in New York with my editor, Gary Fisketjon, it was my first time meeting Sonny, and after ordering our food, he turned to me and said, 'Adam, I read 'Mr. Peanut' in two days; every page surprised me, and that, I can assure you, doesn't happen often.'
My hero when I was 14 was Sonny Liston. No matter what kinds of problems you were having with your parents or at school, whatever, Sonny Liston would go and knock guys out, and that made it all right.
I love harmonicas - old blues players like Sonny Boy Williamson.
My little boy Sonny makes me laugh all the time. He has good comedic timing.
The word had spread and people were piling around us. But then very suddenly, Sonny Liston froze me with that look of his. He said real quiet, 'Let's go on over here.' And he led the way to a table and the people hung back. I ain't going to lie. This was the only time since I have known Sonny Liston that he really scared me.
(As a boy) I was listening to Sonny Boy Williamson's (I) records and I would close my eyes and I could visualize myself playing the harp.
Isaac Smith sounded like Curtis Fuller, Corey Hogan sounded like Sonny Rollins, Terrace Martin sounded like Jackie McLean. Already, at 13, 14, 15 years old.
They used to say it was bad for Indians to drink, but it's bad for anybody. When they drink they lose their cool, a lot of us. Like when we played with Sonny Boy, I would never get paid, you know. He would drink up all the money.
I remember when we did our first read-through, Sonny [Bono] looks at the script and he goes, "Okay, I'll see you guys later. Chai-ay-oh!" And I said, "It's ciao! Aren't you Italian? C-i-a-o doesn't spell 'chai-ay-oh.'" Sonny's dead, so he won't be embarrassed if I tell that story.
I first met Miles Davis about 1947 and played a few jobs with him and Sonny Rollins at the Audubon Ballroom in Manhattan. During this period, he was coming into his own, and I could see him extending the boundaries of jazz even further.
Oh, I listened to a lot of the blues. I love the blues. You know, Slim Harpo, people like that, and Sonny Boy Williamson.
I used to go round to my granddad's house on a Saturday morning, and we'd sit and eat our porridge and watch re-runs of 'Steptoe and Son' on BBC Two. I thought it was hilarious - and Rag 'N' Bone Man sounded like a blues name to me. It reminded me of people like Sonny Boy Williamson and Big Mama Thornton.
I got Sonny up to Harlem, and we started street playin' in New York. We did that for three or four years and survived. We brought it back to the streets again.
I'd gone to watch Wortley play in their home tournament but they didn't have enough players so I played for them. I got scouted by a guy called Sonny Sweeney and went to Leeds City Boys.
Sonny Boy Williamson (II) was a beautiful guy, a straight guy... (but) he was always raising hell one way or another, so you never could tell if he was drunk or sober.
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