Boogie Reis 09 Proves3
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
VJM 189 Hugo Van Der Laan
103 Early Blues/ In the Mornin', Session 10-006 E+ 104 Policy Blues/ I don't Know, Session 10-014 E- looks E+ but spots of light swish Hugo van der Laan 105 The Mississippi Mudder Sweet Jelly Rollin' Baker Man, De 7207 EE+/E 106 Alice Moore Too Many Men/ Don't Deny Me Baby Decca 7369 E- Van Beuningenstraat 53 D 107 Hand in Hand Women/ Doggin' Man Blues Decca 7380 EE+ 2582 KK Den Haag 108 Red Nelson Black Gal Stomp/ Jailhouse Blues the Netherlands BB 7918 E/EE+ 109 Joe Pullum Black Gal No. 4/ Robert Cooper, West Dallas Drag No. 2, buff Bluebird 5947 E- [email protected] light label damage sA/ large lipstick trace sB 105 J.H. Shayne Mr Freddy's Rag/ Chestnut Street Boogie Circle 1011 E-E 106 Pine Top Smith Brunswick album B-1102 E- Pinetop's Blues/ Boogie Woogie, Br 80008 E- Piano Blues 78’s for auction. Packing and air mail is 15 Euro, anywhere, for any I'm Sober Now/ Jump steady Blues amount of records. Payments by Eurotransfer, Bank transfer and Paypal. Br 80009 E- second masters Grading is aural, how they play with a ‘0028 stylus. E+ is the highest grade. 106 Speckled Red with Mandoline, Guitar, Try Me One More Time/ Louise Baltimore Blues, BB 8012E+ 107 Johnny Temple New Vicksburg Blues/ Louise Louise Blues 100 Albert Ammons' Rhytm Kings, Jammin' the Boogie/ Bottom Blues Decca 7244 E-/V+E- pdig restored audible 5' 12" Commodore 1516 E 108 Jinks Lee Blues/ Sundown Blues, BB 8913 E- 101 Leroy Carr with Scrapper Blackwell, My Woman's Gone Wrong/ looks V I Ain't Got No Money Now, Vo 02950 E- 106 Hociel Thomas with Mutt Carey sA, Go Down -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
Blues and Boogie Woogie Style
ELI H. NEWBERGER ARCHETYPES AND ANTECEDENTS OF PIANO BLUES AND BOOGIE WOOGIE STYLE Jazz is essentially an improvised music; it is simultaneously composed and performed. "Style" in jazz implies qualities of both composition and performance. "Idiom," "structure," "phrasing," and "tech- nique" are aspects of style, and a study of various jazz styles contrasts musical " personalities" in the fullest sense. The jazz piano is as old as jazz, and there have been as many jazz piano styles as there have been jazz pianists. Some , however , seem to show particular originality and imagination, and their work has been of influence. The piano blues stylists to whom one can look as archetypes for the piano blues and boogie-woogie school share these attributes. In general, the performers represented here exhibit an impressive technical command of the piano. This is not a prime requisite for the effective use of the instrument in jazz , however. For that reason , Cripple Clarence Lofton is present, while, for instance, Jose Iturbi is not. To capture a sense of style, and to demonstrate the characteristic features of this school of jazz pianism , each of the artists discussed in this article is represented by a typical 12-bar blues improvisation. Principal conceptual and methodologic issues pertaining to the tran- scription and notation of these choruses are reviewed in a previous study. 1 As did ragtime, piano blues and boogie-woogie derived from many sources. But where ragtime shows in its notated music and its mannered style the manifest influence of nineteenth century European and Ameri- Eli H. Newberger is writing several articles as part of a larger study on the evolution of jazz piano styles. -
Chicago Music Communities and the Everyday Significance of Playing Jazz
MUSIC PRACTICES AS SOCIAL RELATIONS: CHICAGO MUSIC COMMUNITIES AND THE EVERYDAY SIGNIFICANCE OF PLAYING JAZZ by John Frederic Behling A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Mark Allan Clague, Chair Professor Paul A. Anderson Professor Kelly M. Askew Professor Charles Hiroshi Garrett Copyright John Frederic Behling 2010 Acknowledgements In this dissertation, I argue that the solos of jazz musicians spring from the practices of the communities in which they live. What holds true for expression and creativity in jazz is no less true of academic research and writing. This dissertation would not be possible without the support and encouragement of many communities and individuals. I thank all the musicians in Chicago who played music with me and welcomed me into their communities. I am especially grateful to Aki Antonia Smith, Edwina Smith, Scott Earl Holman, and Ed Breazeale for befriending me and introducing me to the musicians and communities about whom I write. I am also grateful for the support of my academic community. Kelly Askew introduced me to the anthropological side of ethnomusicology. Her writing showed me what compassionate and concrete ethnography should be like. Paul Anderson’s late night seminars helped me understand that musical practices have philosophical and psychological significance and that jazz criticism is part of a much larger and long- standing intellectual conversation. Charles Hiroshi Garrett, a late addition to my committee, embraced this project with enthusiasm. His generous encouragement and insightful comments are greatly appreciated. -
500 Songs That Shaped Rock
500 Songs That Shaped Rock James Henke, chief curator for the Rock and Roll Hall of Fame, with the help of music writers and critics, selected 500 songs (not only rock songs) that they belie e ha e been most influential in shaping rock and roll! "he list is alphabetical by artist! A AC/DC, #$ack in $lack% AC/DC, #Highway to Hell% Roy Acuff and the Smoky Mountain Boys, #&abash 'annonball% Aerosmith, #(ream )n% Aerosmith, #"oys in the *ttic% Afrika Bambaataa, #+lanet Rock% The Allman Brothers Band, #Ramblin, -an% The Allman Brothers Band, #&hipping +ost% The Animals, #"he House of the Rising .un% The Animals, #&e /otta /et )ut of "his +lace% Louis Armstrong, #&est 0nd $lues% Arrested De elo!ment, #"ennessee% B The B"#$%s, #Rock 1obster% 1 of 19 The B-#$%s La&ern Baker, #Jim (andy% 'ank Ballard and the Midnighters, #&ork &ith -e *nnie% The Band, #"he 2ight "hey (ro e )ld (i3ie (own% The Band, #"he &eight% Beach Boys, #'alifornia /irls% Beach Boys, #(on,t &orry $aby% Beach Boys, #/od )nly 4nows% Beach Boys, #/ood 5ibrations% Beach Boys, #.urfin, 6!.!*!% The Beastie Boys, #(7ou /otta) Fight for 7our Right (to +arty)% The Beatles, #* (ay in the 1ife% The Beatles, #Help8% The Beatles, #Hey Jude% The Beatles, #9 &ant to Hold 7our Hand% The Beatles, #2orwegian &ood% The Beatles, #.trawberry Fields Fore er% The Beatles, #7esterday% The Beau Brummels, #1augh 1augh% Beck, #1oser% (eff Beck )rou!, #+lynth (&ater (own the (rain)% The Bee )ees, #.tayin, *li e% Archie Bell and the Drells, #"ighten 6p% Chuck Berry, #Johnny $! /oode% 2 of 19 Chuck Berry, #-aybelline% Chuck Berry, #Rock and Roll -usic% The Big Bo!!er, #'hantilly 1ace% Big Brother and the 'olding Com!any, #+iece of -y Heart% Big Star, #.eptember /urls% Black Sabbath, #9ron -an% Black Sabbath, #+aranoid% Bobby Blue Bland, #"urn )n 7our 1o e 1ight% Blondie, #Heart of /lass% *urtis Blo+, #"he $reaks% )ary ,-S- Bonds, #:uarter to "hree% Booker T- . -
The Birthplace of Boogie Woogie
Marshall, Texas: The Birthplace of Boogie Woogie By John Tennison, MD Copyright 2010 All rights Reserved What is Boogie Woogie? • Traditionally Piano-Based Music with the following 9 elements: • 1. Ostinato (Usually occurring at least in the bass line) • 2. Swing Pulse • 3. Syncopation • 4. Polyrhythmic Interplay • 5. Highly Percussive, and Often Melodic, Right-Hand Part • 6. Left-Hand Part is Frequently Melodic and Contrapuntal to the Right-Hand Part • 7. Strong Sense of Tonicity or Tonality (i.e. a sense of musical key) • 8. Emphasis of I, IV, and V Chords in Harmonic Progressions • 9. Identified with specific intervalic sequences (e.g. T&P Bass, ―The Cows‖) so strongly that, even when not played as ostinato, the presence of such sequences convey a sense of Boogie Woogie. • Some Audio Examples Early Boogie Woogie Recordings •The unequivocal first recorded examples of what was later called "Rock and Roll.“ •Rosetta Tharpe and Albert Ammons - December 23, 1938 – Carnegie Hall •Boogie Woogie has been rightfully called the "Father of Rock and Roll." Influence of Boogie Woogie on popular music in general •Peanuts – Linus and Lucy •Woo Woo •Videogames – Bully •Madonna – “I like to Boogie Woogie.” Influence of Boogie Woogie on Jazz •Oscar Peterson •Claude Bolling •Many, many others Influence of Boogie Woogie on Classical Music •Conlon Nancarrow (United States) •Nikolai Kapustin (Russia) •Louis Andriessen (The Netherlands) Conlon Nancarrow The National Spread of Boogie Woogie Dangerous Environments of Early Boogie Woogie • African Americans created Boogie Woogie in dangerous environments that literally put their lives at risk. • Boogie Woogie was played in “underground” establishments (AKA barrelhouses), where violence was common, and also, where drinking, gambling, and sexual activity could potentially lead to social conflicts which resulted in death. -
The World of SOUL PRICE: $1 25
BillboardTheSOUL WorldPRICE: of $1 25 Documenting the impact of Blues and R&Bupon ourmusical culture The Great Sound of Soul isonATLANTIC *Aretha Franklin *WilsonPickett Sledge *1°e16::::rifters* Percy *Young Rascals Estherc Phillipsi * Barbara.44Lewis Wi gal Sow B * rBotr ho*ethrserSE:t BUM S010111011 Henry(Dial) Clarence"Frogman" Sweet Inspirations * Benny Latimore (Dade) Ste tti L lBriglit *Pa JuniorWells he Bhiebelles aBel F M 1841 Broadway,ATLANTIC The Great Sound of Soul isonATCO Conley Arthur *KingCurtis * Jimmy Hughes (Fame) *BellE Mg DeOniaCkS" MaryWells capitols The pat FreemanlFamel DonVarner (SouthCamp) *Darrell Banks *Dee DeeSharp (SouthCamp) * AlJohnson * Percy Wiggins *-Clarence Carter(Fame) ATCONew York, N.Y. 10023 THE BLUES: A Document in Depth THIS,the first annual issue of The World of Soul, is the initial step by Billboard to document in depth the blues and its many derivatives. Blues, as a musical form, has had and continues to have a profound effect on the entire music industry, both in the United States and abroad. Blues constitute a rich cultural entity in its pure form; but its influence goes far beyond this-for itis the bedrock of jazz, the basis of much of folk and country music and it is closely akin to gospel. But finally and most importantly, blues and its derivatives- and the concept of soul-are major factors in today's pop music. In fact, it is no exaggeration to state flatly that blues, a truly American idiom, is the most pervasive element in American music COVER PHOTO today. Ray Charles symbolizes the World Therefore we have embarked on this study of blues. -
Express Music Auction
Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Express Music Auction 5th April 2018 at 10:00 Viewing: 4th April 2018 10:00 - 16:00 Otherwise by Appointment David Martin David Howe Music Music Saleroom One 81 Greenham Business Park, NEWBURY RG19 6HW Telephone: 01635 580595 Fax: 0871 714 6905 Email: [email protected] www.specialauctionservices.com Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price Internet Buyers Premium: 20.5% plus Value Added Tax making a total of 24.6% of the Hammer Price 1. Funk / Soul LPs, approximate- 5. 12” Singles, approximately 9. Soul / Funk LPs, approximate- ly seventy five Albums with artists in- seventy 12” singles of various genres ly eighty albums with artists including cluding Weather Report, Black Heat, with artists including Prince, Madon- Leon Bibb, 5th Dimension, Funkadel- Parliament, Lakeside, Bar-Kays, The na, A-Ha, Tears For Fears, Fun Boy ic, Detroit Emeralds, Dramatics, Hues Dells and more. Various years and con- Three, Madness and more - various Corporation and more - various years ditions £50-80 years and conditions £20-30 and conditions £50-80 2. Soul / Blues LPs, approximate- 6. Female Artist LPs, approxi- 10. Jazz Fusion / Funk LPs, ap- ly eighty albums with artists including mately eighty albums of various genres proximately seventy albums with art- Gilberto Gil, Ben E King, Z Z Hill, Billy and by mainly female artists including ists including Alphonze Mouzon, Bud- Preston, Solomon Burke and more - Doris Troy, Kate Bush, Kiki Dee Joni dy Miles, Grover Washington, Herbie various years and conditions £50-80 Mitchell, Amii Stewart, Shirley Brown, Hancock, Jimmy Smith, Quincy Jones Ann Peebles and more - various years and more - various years and condi- and conditions £40-60 tions £50-80 3. -
By Mark Puryear in 1964 the Dixie Cups'8 \ A
Rhythm and Blues 53 by Mark Puryear 8 In 1964 The Dixie Cups' \ a female vocal trio from New Orleans, crooned out a cheerful version of "Chapel of Love" and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released "lko lko," a song first released in 1954 by James "Sugar Boy" Crawford as "Jock-A-Mo," whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow er of this music to transcend region and musical category and become a representative sound of the country. Rhythm and Blues 55 The Dixie Cups are among the impressive line-up of artists participating in this summer's Smithsonian Folklife Festival. The Rhythm and Blues: Tel/It Like It Is program is an exploration of the rich historical, cultural, and musical matrix of R&B . Through music and dance performances , workshops, and narrative discussions, this program considers R&B as a collaborative art form that is shaped by composers , performers, producers, and communities of listeners. Most importantly, it highlights how music provides a dynamic lens to explore the relationship of African American history and experiences to American popular culture. The history of R&B and the breadth of what it encompasses-socially, commercially, and artistically suggests that it is not monolithic. -
Original Rock and Roll Hall of Fame Inductees Vocabulary: to Linger
Original Rock and Roll Hall of Fame Inductees Vocabulary: to induct (v.) - to admit as a member, to initiate or introduce, to put or install in formal possession of an office a thrill (n.) - a sudden strong feeling especially of excitement or happiness, something producing this feeling to linger (v.) - to be slow in parting or quitting something a vow (n.) - a solemn promise or assertion, especially one that binds to an act, service, or condition to cling (v.) - to hold on to tightly and persistently, to have a strong emotional dependence or attachment a gunny sack (n.) - a sack made of a coarse heavy fabric, such as burlap to strum (v.) - to brush the fingers over the strings of a musical instrument, such as a guitar or to cause to sound vibrantly to rattle (v.) - to make a rapid succession of short sharp noises, to chatter without stopping, to shake in a way that makes these kinds of sounds to twiddle (v.) - to absentmindedly play with something, to rotate lightly or idly https://en.wikipedia.org/wiki/Rock_and_Roll_Hall_of_Fame#The_Songs_That_Shaped_Rock_and_Ro ll The Rock and Roll Hall of Fame and Museum is a hall of fame and museum located on the shore of Lake Erie in downtown Cleveland, Ohio, United States. The Rock and Roll Hall of Fame Foundation was established on April 20, 1983, by Atlantic Records founder and chairman Ahmet Ertegun to recognize and archive the history of the best-known and most influential artists, producers, engineers, and other notable figures, who have each had some major influence on the development of rock and roll.