DOCSLIB.ORG

San Diego's Queen of the Boogie Woogie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
San Diego's Queen of the Boogie Woogie by Put Kramer Sue Palmer Sun Diego's Qaeen of Boogie Woogie rflhirty years in lhe mustc Sue's first professional I indrrt.y is a long time band was in Tobacco Road, for any performer, particular- a band she formed with well ly for blues artists and espe- known jazz and swing bass cially for women blues per- player Preston Coleman. formers. For Sue Palmer, the Over the next 15 years, the "Queen of Boogie Woogie," band played regular gigs at it's been a star-studded blues the Belly Up Tavern in So- career with many rewards lano Beach. Of Coleman she and awards. The swing, blues says, "Working with Preston and boogie-woogie piano was like going to college to player has toured the world learn my craft. He was the and played music festivals real thing - a man who was throughout the U.S. and Eu- a fantastic performer and ar- rope as the pianist for blues ranger and was kind and gen- diva Candye Kane. But it's erous with us." her solo and band recording While fronting Tobacco as Sue Palmer and Her Mo- Road, Sue met Candye Kane tel Swing Orchestra that have and soon after the two be- generated the most awards. gan collaborating on music. Her fourth release, Sophisti- Later, Sue was invited to join cated Lady won an Interna- Kane's band as piano player tional Blues Challenge Award which led to world tours for "Best Self Produced CD" through the '90s playing club in 2008, her third release, dates and festivals in Canada, Live at Dizzy's won "Best Australia, France, Holland, Blues Album 200212003" the Netherlands and United and her solo piano album, States. Sue Palmer After Hours won blues club Croce's Bar and Later, her role models Sue was known, during "Best Blues Album 2010" Restaurant. included swinging blues and these years, for her memo- from the San Diego Music "They call me the "Queen boogie woogie recording rable get-up: a two foot high Awards. of Boogie Woogie" says Sue, artists Hadda Brooks, Julia beehive hairdo, retro shades The San Diego native speaking about her career. As Lee, and Camille Howard and piles of rings and brace- even had a day named for her far as the future, I'd like to along with Elvis Presley, Ray lets thatjangled as she played by the San Diego City Coun- take that title as far as I can." Charles, Count Basie and her lightening fast keyboard. cil:March 25th,2008 was of- Sue got started in music Duke Ellington. Their act was so popular, the ficially declared "Sue Palmer early. She was born into a After graduating high band averaged,250 dates per Day" for her many years of musical family which en- school, she became politi- year. While it was an exhila- cultural contributions play- couraged her to express her- cally active in the Women's rating experience for her as ing the city's festivals, clubs self through music. Her early Movement where she was a musician, it was also very and celebrations. Follow- role models were her musical able to showcase her talents draining so in 1999, Sue de- ing her most recent award in aunts: a saxophonist and pia- playing at local meeting and cided to leave the band. 2010, Sue received the "Jim no player and her mother who events. Playing in small ven- "It was hard to be away Croce Music Award" for ex- played percussion. Says Sue, ues allowed her to develop from friends and significant cellence and dedication to "It was kind of required to her own style and exposed others," she recall, "espe- music from the late recording participate musically; that's her to many other talented cially because we didn't have artist's widow, Ingrid Croce, what we did when we got to- performers who mentored her Internet and it was really ex- owner of San Diego's jazzl gether." along the way. pensive making phone calls. Eventually, I quit because I The show opened in January was just tired of being on the and runs until February 6, road so much." 201I at the Moxie Theater in Back in San Diego Sue San Diego. launched her own band in Sue has also performed 2000, "Sue Palmer and Her as part of the show 'oQueens Motel Swing Orchestra" and of Boogie Woogie" with over the past decade has Per- piano players/singers Lisa formed regularly at Croce's Otey, Dona Oxford and Wen- in San Diego as well as the dy Dewitt at Berkeley, CA's Sacramento Jazz Jubilee, Freight & Salvage and the the Glendale Kiwanis Jazz 2010 Ocean Beach Jazz Fes- Festival, the Mammolh Jazz tival. But the most special Festival, the Ocean Beach show was in 2002 with the Jazz Feslival and the Adams late, original Queen of Boo- Avenue Street Fair to rave re- gie Woogie. singer-songwrit- views. er-pianist Hadda Brooks who In addition, she has col- died later that year. Sue will, laborated with a number of again, join the Queens of recording artists. She's fea- Boogie Woogie for a show at tured on Tom Waits' com- Yoshi's in Oakland on April pilation, New Coat of Paint 25, 2011. (Manifesto Records, 2000), For the present, Sue en- Earl Thomas' The Elec- ioys her role as band leader tor Studio Sessions (2000); with Sue Palmer and Her Michele Lundeen's self Motel Swing Orchestra. produced, Song Inside Me The band's line up includes (2004), produced and con- lead singer Deejha Marie; tributed to Dayna Carroll's trombone player April West; CD Yesterday, TodaY, For- drummer Sharon Shufelt; t8U ever (2008), and Produced guitarist Steve Wilcox, sax kgrdrrrlblistXctr the late, award-winning player Jonny Viau and bass Crcirfrbinllfilt Harrison, with songwriter Janell Rock's CD, player Pete lsrTiotsk hr lll u lfor lt0t Performer. She's Sue on piano and accordion. Janell Rock, Xrdmnof It0d*lktohml{ also appeared on stage or re- In February, the band Per- Crll (}na or corded with Lou Ann Barton, forms in the series "Terminal d-{s6 ,lid$ss*ss *gjdgas *i{rui",ru hrry 0$l$ &ll$l LABS ir e 501{c}3 *on-proniH?i Kim Wilson, Wal- Jazz" at San Diego AirPort's Sue Foley, Cpnrs .4nd Wsfir ltte Lns 4ngele,q Slrtes.frtctrfry ter Wolfman Washington and baggage section, in MaY, theY Marcia Ball, to name a few. appear at Vista's Avo Theater writing as well as shows at Croce's. LABg {l}Pon Cllu** )arn *17 In addition to gtorr€ry' in- In June, Sue travels to EuroPe Hsst€tl ;!Y E]. 8lu{rs new music for her five, F€tlru*rY e(}th 2Cr. t' 1 St}rrl-?Prrr dependent releases, Sue has with Candye Kane to perform *f. f}hllllps Alefrousc - (62'6) e56-'l}4S3 16 continued to write and Per- at the Netherlands' United bY 601 s; Mrn*tts-i-*. M9. form with Candye Kane' Music charity event followed LAES 0P*n 3lu*s Jarn #18 Her latest role is as musical by club dates and festivals in sf$stad lry The oth€r Muler telerch Astft tsl* f zrrm-7Pm director for Kane's new bio- Europe. BIS Fl6h Gl*r * (A1A) t'r4-64'*? Tough- An active supPorter of 2CI3 graphical music show, 533af *" j*'"Tf 3 ed- she Gay Rights movement, est Girl Alive, for which the LABS CIPGn 6lu€t5 "iarn *t19 wrote "Highway of Tears," Sue has received two Nicky t"lc$t€d FY Cl}ld Crrrllfr:trt Gllrres one of the featured songs. Awards for "Outstanding En- Aprll 3rd eO1t. I tPrr-6Prn Ray's l>erl.nts$.n ll€ll - (F09) 6A5 -777& Based on Kane's life's ex- tertainer." t$g S" E St.#E S*n €rarnardlno' CA' S240l. periences, the show features For more information, music, multimedia and gor- please visit: www.suepalmer. &,{rt_s"rrr-Fee-"{tfd d-ssv,lsrlncf.a{S geous set design highlight- com. W*tah aur vidsas @ vw v- y alrhrhttfr,ffiflz bs{hl]{as ing Kane's colorful memoirs..
Load more

Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • Mark III Owners Manual
    MESA-BOOGIE MARK III OPERATING INSTRUCTIONS MESA ENGINEERING CONGRATULATIONS! You've just become the proud owner of the world's finest guitar amplifier. When people come up to compliment you on your tone, you can smile knowingly ... and hopefully you'll tell them a little about us! This amplifier has been designed, refined and constructed to deliver maximum musical performance of any style, in any situation. And in order to live up to that tall promise, the controls must be very powerful and sophisticated. But don't worry! Just by following our sample settings, you'll be getting great sounds immediately. And as you gain more familiarity with the Boogie's controls, it will provide you with much greater depth and more lasting satisfaction from your music. THREE MODES For approximately twelve years, the evolution of the guitar amplifier has largely been pioneered by MESA-Boogie. The Original Mark I Boogie was the first amplifier to offer successful lead enhancement. Then the Mark II Boogie was the first amplifier to introduce footswitching between lead and rhythm. Now your new Mark III offers three footswitchable modes of operation: Rhythm 1, Rhythm 2 and Lead. Rhythm 1 is primarily for playing bright and sparkling clean (although a little crunch is available by running the Volume at 10). You might think of Rhythm 1 as "the Fender mode”. Rhythm 2 is mainly for crunch chords, chunking metal patterns and some blues (but low settings of the Volume 1 will produce an alternate clean sound that is very fat and warm). Think of Rhythm 2 as "the Marshall mode".
    [Show full text]
  • Classic Posters - Antones Blues Club
    Classic Posters - Antones Blues Club Classic Posters - Antones Blues Club by Michael Erlewine [email protected] Right up there with the Armadillo is probably the best blues club in the southwest, Antones in Austin, Texas. Classic Antone's Poster Antone's also recorded and release a number of albums under Antone's Records by blues greats like James Cotton, Ronnie Earl, Memphis Slim, and Matt "Guitar" Murphy and younger players like Angela Strehli and Marcia Classic Antone's Poster Ball. Antone's blues club in Austin may is the best-known blues venue in the southwest, and maybe in the whole country. Started by Clifford Antone in 1975, this blues venue has hosted all the great blues players, everyone from Jimmy Reed, Fats Domino, Big Walter Horton, Jimmy Reed to John Lee Hooker and Percy Mayfield. Younger blues artists like Stevie Ray Vaughan, The Fabulous Thunderbirds (the house band for years), Lou Ann Barton, and others frequented Antone's and learned their craft. Classic Antone's Poster Antone's posters and flyers feature Texas artists like Guy Juke, Sam Yeates, and most of all the wonderful work of Danny Garrett. Antone's has always been vigorously collected by a small group, but in recent years more and more collectors are getting into this Classic Posters - Antones Blues Club great venue and the prices for Antone's items have been inching up. Antone's has been a steady source for great music for decades. That history is reflected in the many fine posters and handbills for that venue, some of them stunning like this large handbill for John Lee Hooker.
    [Show full text]
  • Austinmusicawards2017.Pdf
    Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers.
    [Show full text]
  • Marcina Kasiny Oleśnica – 04
    TURNIEJ TAŃCA NOWOCZESNEGO o Puchar Wójta Gminy Oleśnica Marcina Kasiny Oleśnica – 04. lutego 2018 r. /niedziela/ 1. Organizator: 2. Współorganizatorzy: Polski Związek Tańca Freestyle Gmina Oleśnica Szkoła Tańca JAST JAST Atan Gminny Ośrodek Kultury Oleśnica 3. Termin imprezy: 04.02.2018 (niedziela) 4. Miejsce: Gminna Hala Sportowa, ul. Wileńska 32, 56 – 400 Oleśnica 5. Cele: - Popularyzacja i propagowanie tańca nowoczesnego. - Integracja Grup Tanecznych oraz instruktorów tańca. - Rywalizacja Fair Play oraz wspólna zabawa uczestników. - Wyłonienie najlepszych zespołów w poszczególnych kategoriach. - Promocja Gminy Oleśnica. - Promocja rywalizacji tanecznej wśród dzieci i młodzieży Gminy Oleśnica. 6. Komisja sędziowska: 5 licencjonowanych sędziów PZTF i skrutiner PZTF. 7. Kategorie wiekowe: Organizator zastrzega sobie możliwość połączenia kategorii wiekowych i dyscyplin tanecznych w przypadku 4 i mniej zespołów. 7 lat i młodsi (rocznik 2011 i młodsi 9 lat i młodsi (roczniki 2009 i młodsi) 11 lat i młodsi (roczniki 2007 i młodsi) 15 lat i młodsi (rocznik 2003 i młodsi) 16 lat i starsi (2002 i starsi) 31 lat i starsi (1987 i starsi) O przynależności do kategorii wiekowej w III, II i I lidze decyduje wiek najstarszego zawodnika – z tolerancją do 1 osoby. W Ekstralidze decyduje wiek najstarszego zawodnika UWAGA! W III, II i I lidze możliwe jest tańczenie jednej albo dwóch prezentacji przez ten sam zespół (oznacza to również, że jeden tancerz może występować w dwóch różnych zespołach danego klubu). Nazwa zespołu tańczącego dwie prezentacje musi kończyć się cyfrą 1 albo 2, np. JAST 1 i JAST 2 - nr 1 oznacza pierwszą prezentację w kolejności, nr 2 – drugą. 8. Muzyka: III , II i I Liga - muzyka własna do 3 min.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • Doyle Bramhall
    BIO DOYLE BRAMHALL It’s apropos that DOYLE BRAMHALL’s new Yep Roc CD is titled Is It News because, although they’re absolutely true to his deep roots in the blues, its dozen original tunes mark a turning point that is both ambitious and the logical summation of his artistic evolution. The answer to the forward- thinking, envelope-pushing CD’s title is a resounding yes—and the news is all good! “I wanted to make an all-original record that was big, energetic, intimate, and unpredictable,” Doyle states. “We got a lot of the sounds by pushing everything to the limit and then pulling it back from there.” Fans already accustomed to Doyle’s high standards and willingness to chart new territory will nonetheless be pleased and surprised at just how high he raises the bar. This instant classic is the benchmark of Bramhall’s storied career—which is saying a lot! Continuing the tradition he started with the songs he co-wrote with Stevie Ray Vaughan, which struck a chord with the biggest audience the blues has ever enjoyed, he deftly expands the idiom’s vocabulary and texture. Any discussion of Texas blues, be it T-Bone Walker or Stevie Ray, is incomplete without mention of Doyle Bramhall. As singer, songwriter, and drummer, he has been an integral part of that rich state’s music for almost 40 years and, indeed, one of the founding fathers of the blues/roots resurgence synonymous with the Lone Star state and the migration from Dallas to its musical epicenter, Austin.
    [Show full text]
  • How Breakdancing Taught Me to Be a Technical Artist
    How breakdancing taught me to be a technical artist Robbert-Jan Brems Technical Artist Codemasters Hello ladies and gentlemen, my name is Robbert-Jan Brems. I'm currently technical artist at Codemasters and here to present you my talk : “How breakdancing taught me to be a technical artist” I only have been working as a professional technical artist in the video game industry for just over a year, but I have been breakdancing for almost nine years, and dancing for almost seventeen. The reason I am telling you this will become more apparent later on. Just out of curiosity, are there any breakdancers in this room? Well, the good news is that you do not need any breakdance related experiences to understand this talk. The main reason why I wanted to do this talk was because I have the feeling that as a person it is really easy to be looking through the same window as everybody else. What I mean with that is when we follow the same route to find knowledge as everybody else, we end up knowing the same things while missing out on other potentially important knowledge. By telling you my life story as a breakdancer and a game developer I want to illustrate how I reflect the knowledge that I obtained through breakdancing to my profession as a technical artist. So, the goal of my talk is to hopefully inspire people to start looking for knowledge by looking at learning from a different perspective. Once upon a time ... I started dancing when I was around 7 years old.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • She's the Jazz: an Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected]
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Performance Studies Commons, and the Women's Studies Commons Recommended Citation Terry, Jillian, "She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper" (2019). Honors College Capstone Experience/Thesis Projects. Paper 811. https://digitalcommons.wku.edu/stu_hon_theses/811 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SHE’S THE JAZZ: AN EXPLORATION OF DANCE AND SOCIETY IN THE AGE OF THE FLAPPER A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky University By Jillian C. Terry May 2019 ***** CE/T Committee: Professor Amanda Clark, Chair Assistant Professor Anna Patsfall Copyright by Jillian C. Terry 2019 ii I dedicate this written thesis to my parents, Samuel Robert and Christy Terry, who have supported me wholly with unfailing love in every adventure along the way. iii ACKNOWLEDGEMENTS My work would not be
    [Show full text]
  • Boogie Woogie 101 How the Music That Started in Marshall Became Popular Throughout the World
    Boogie Woogie 101 How the music that started in Marshall became popular throughout the world. Dr. John Tennison (left) is a San Antonio psychiatrist and internationally respected musicologist & Boogie Woogie expert. After years researching the origins of this influential & revolutionary style, Dr. Tennison determined that Marshall, Texas is the most likely original hub from which Boogie Woogie music spread to the rest of the world. He published his conclusions on Dr. Tennison in Vienna with Axel Zwingenberger, the Boogie Woogie Foundation considered to be the most website, bowofo.org, in 2004. He influential and prolific of the continues to update and expand European composers, on his article in preparation for a performers and scholars of Boogie Woogie. book on the history. By the 1930s, musicologists had determined that Boogie Woogie music originated in the early 1870s somewhere in the Piney Woods of Northeast Texas. Dr. Tennison’s research, published in 2004, determined a more specific location… Dr. Tennison’s research concluded that the following elements were crucial to determining where Boogie Woogie music originated. •A population of newly-freed African Americans. •Close proximity to railroad hub & railroad activities. •Surrounded by logging camps in the Piney Woods of northeast Texas. In addition to the texts, interviews, oral histories, and research established over many years by the music historians and experts who preceded him, Dr. Tennison studied census data, forestry maps, and railroad & logging history in the Piney Woods to produce a list of locations where all the essential elements were present during the early 1870s…and was surprised to learn only one community combined them all.
    [Show full text]
  • Jump Blues, Club Blues, and Roy Brown Rob Bowman
    Document generated on 09/27/2021 9:27 p.m. Canadian University Music Review Revue de musique des universités canadiennes Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown Rob Bowman Volume 17, Number 1, 1996 Article abstract The classification of different styles of North American popular music has URI: https://id.erudit.org/iderudit/1014691ar often been problematic. This paper investigates some of the music referred to DOI: https://doi.org/10.7202/1014691ar as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy See table of contents Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown Publisher(s) recorded in this period were analyzed with respect to structure, performing force, performance style, tempo, arrangement, bass lines, approach to the beat, Canadian University Music Society / Société de musique des universités rate of singing, vocal ornamentation, and lyric content and structure. Three canadiennes main subdivisions were found within Brown's repertoire, all connected to social behaviour, namely, dance. In the process, a basic biography of Brown is ISSN provided and his influence on many subsequent rhythm and blues and rock and roll performers is contextualized. 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Bowman, R. (1996). Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown.
    [Show full text]