The Joy of Boogie and Blues Free
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 -
Download the Alto Saxophone of Don Stovall
1 The ALTOSAX of DON STOVALL Solographer: Jan Evensmo Last update: Aug. 5, 2019 2 Born: St. Louis, Missouri, Dec. 12, 1913 Died: NYC. Nov. 20, 1970 Introduction: I don’t think anybody in Oslo Jazz Circle recognized Don Stovall, in the old days we simply did not play that kind of music, and we hated the Decca recording company for all their mediocre sessions. Ghus missing out on things we should have noted and appreciated. History: Began playing violin as a child before settling on alto. Played in St. Louis, Missouri with Dewey Jackson and Fats Marable on riverboats in the 1920s, and then played with Eddie Johnson’s Crackerjacks in 1932-33. In the 1930s he lived in Buffalo, New York, where he led his own ensmble and played with Lil Armstrong. He moved to NYC. in 1939, and played there with Sam Price, Eddie Durham and Cootie Williams. Following this he recorded extensively with Red Allen, remaining with him until 1950. He retired from the music industry in 1950, and spent the remainder of his life working for a telephone company (ref. Wikipedia). 3 DON STOVALL SOLOGRAPHY BUDDY JOHNSON & HIS ORCHESTRA NYC. Nov. 16, 1939 Courtney Williams (tp), Don Stovall (as), Sonny Fredericks (ts), Buddy Joihnson (p, vo-66891), unknown (g), (b), (dm), The Mack Sisters (vo-66889,90,91). Four titles were recorded for Decca: 66889-A When You’re Out With Me Obbligato 6 bars. (FM) 66890-A Jammin’ In Georgia Solo 8 bars. (M) 66891-A Stop Pretending Solo with ens 16 bars. (M) 66892-A Reese’s Idea Solo with ens 16+8 bars, (tp) on bridge. -
0013 Big Joe Turner.Cdr
International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 AVAILABLE NOW Big Joe Turner Shake, Rattle & Roll In Concert AIM 0013 CD 1. Roll 'Em Pete 2. Shake Rattle & Roll 3. Hide & Go Seek Big Joe Turner (b. 18 May 1911, Kansas City, Missouri) began singing and bartendering at the age of 15 in 4. Stormy Monday Blues Kansas City, and joined up with pianist Pete Johnson with whom he would continue to perform with for the 5. When The Sun Goes next 40 years. He was known as the "Singing Bartender" and during this time sang with the bands of Bennie Down Moten, Count Basie and others. In 1938 on his second trip to New York, he appeared on John Hammond Jr's 6. Ain't Gonna Be Your "From Spirituals To Swing Concerts" and on Benny Goodman's CBS Radio Show. Turner's early recordings Lowdown Dog show him as a fine jazz singer, but it is on his Blues recordings where his shouting style can be heard that he 7. TV Mama was so truly influential on so many singers who followed. 8. Flip Flop & Fly He made numerous recordings just before and during the World War II, in his Jazz-Blues/Jump Blues style, a 9. Chicken & The Hawk style he continued with after the war until by the late 40's his music had taken on an R&B style that by the early 10. -
Historic Jazz Piano Styles in Live Performance, 1900-1940
Historic Jazz Piano Styles in Live Performance, 1900-1940 An Honors Recital (HONRS 499) by Mattnew A. Wilson Frank J. Puzzullo Ball State University Muncie, Indiana April 15, 1992 Graduation Date: May 2, 1992 -------- ---._--- ---"- \ "V,''''' • ",ISS This ~ecital is dedicated to the purpose 0: outlining the evolution of Jazz piano styles prior to about 1940. The empnasis is on tne niano as a solo instrument, a unique nositinn occu~ied by the piano since it can play both melody and accompaniment to its melody. T11e;)rogram notes are designed not to give a detailed analysis of each selection, but instead to nelp gUide the membe~s of tne audience in understanding the nistorical context, tne general stylistic traits of the pieces, a~l perhaps tne significance of particular key persons in the devel o~ment of Jazz piano styles. Tne selections themselves orogress chronologically, and they are carefully chosen to provide an in:eresting and varied program. The most important factor, noweve~, in considering whicn pieces to include is tne aCcurate representat1:m of tne various styles. The pieces C.hosen are tnose tnat seem to embody tne stylistic traits in the most easily perceived manner, because tne pur:l)()se ·of the recital is to demonstrate tnese early Jazz .Jiano styles to t11e aUdience. AI]. of tne nieces ryerformed are based on transcriptions of actual recordings. Sunflower Slow Drag -1901 • • • • • • • Scott Joplin (1868-1917) - Scott Hayden (1882-1915) With the emergence of ragtime comes the first genuinely American music. This new and unique music combines elements of brass band styles, European forms, and folk traditions. -
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. -
5 Boogie Woogie Piano Solos Pete Johnson Leeds Music, 1941 1941
5 boogie woogie piano solos Pete Johnson Leeds Music, 1941 1941 5 boogie woogie piano solos I'd Rather Be Famous Diary of an (un) Teenager How to Train Your Parents Trust Me, I'm a Troublemaker The Vampire Hunters The TV Time Travellers Rescuing Dad Help! I'm a Classroom Gambler Report "Albert Ammons - 5 Boogie Woogie Piano Solos". Please fill this form, we will try to respond as soon as possible. Your name. Email. Reason. -Select Reason- Copyright complaint Illegal/Unlawful Spam Other Terms Of Service Violation. Description. Submit. Download "Albert Ammons - 5 Boogie Woogie Piano Solos". We are a sharing community. So please help us by uploading 1 new document or like us to download: Upload document file. Or like to download immediately. Close. Copyright © 2017 TUXDOC Inc. Documents Similar To Albert Ammons - 5 Boogie Woogie Piano Solos. Skip carousel. carousel previous carousel next. Boogie Woogie for Beginners. Boogie Woogie Piano. 5 Boogie Woogie by Jimmy Yancey. Eight To The Bar - Frank Paparelli. Boogie_Woogie_and_How_To_Play_It_-_Book_Two_-_David_Carr_Glover__1958_. Manfred Schmitz - Blues & Boogie Woogie - 1979. Axel Zwingenberger - Boogie Woogie Piano Solo. Blues & Boogie Piano Styles[1]. Boogie Woogie. Boogie Woogie Piano. 5 Boogie Woogie by Albert Ammons. Boogie - Woogie Piano. Pinetop's Boogie Woogie. Boogie Woogie Piano Sheet Music - 12 bass gone crazy, boogie woogie blues, boogie woogie stomp, monday struggle, shout for joy. Axel Zwingenberger boogie woogie piano solo. Boogie Woogie Rock N Roll Jazz Guitar Solos 1. Boogie Woogie. 5 Boogie Woogie by Jimmy Yancey. Boogie Woogie Piano Sheet Music - 12 Old Pieces. Boogie Woogie Made Easy. -
Conference Program
55th ANNUAL CONFERENCE AND PRE-CONFERENCE WORKSHOP MAY 12-15, 2021 1 CONFERENCE SPONSORS PLATINUM Conference Grants from the Savada Family In memory of Morton J. and Lila Savada 2 ARSC Board of Directors Rebecca Chandler, President Cary Ginell, First Vice President Terri Brinegar, Second Vice President/Program Chair Roberta Freund Schwartz, Secretary Steven I. Ramm, Treasurer Jeff Willens, Member-At-Large Maya Lerman, Member-At-Large Nathan Georgitis, Executive Director 55th Annual Conference Planning Rich Markow, Conference Manager Curtis Peoples, Assistant Conference Manager Maya Lerman, Conference Registrar Dan Hockstein, Virtual Conference Manager Anna-Maria Manuel, Bill Klinger, Outreach Nathan Georgitis, Web Editor Yuri Shimoda, Mentoring Program Coordinator Program Committee Terri Brinegar, Chair Brenda Nelson-Strauss, Patrick J. Midtlyng, David Giovannoni, Dennis Rooney, Gary Galo Education & Training Committee Curtis Peoples, Yuri Shimoda, Co-Chairs Awards for Excellence Committee Roberta Freund Schwartz, Chair Technical Committee Brad McCoy, Chair Bill Klinger, Cylinder Subcommittee Conference Grants Committee David R. Lewis, Chair 3 ARSC 2021 Conference Schedule (All times are in EDT) WEDNESDAY MAY 12, 2021 11:00 am– 6:00 pm PRE-CONFERENCE WORKSHOP Digital Restoration in the 21st Century Seth B. Winner, Jessica Thompson, Bryan Hoffa, Richard Martin 11:00 am – 4:00 pm BOARD MEETING Sign-In 4:00 – 5:00 pm EXECUTIVE COMMITTEE MEETING Open to committee chairs and board members. Sign-In 8:00 – 9:00 pm Introduction to ARSC - Mentoring Program Event Open to all, registration required Society for Ethnomusicology 2021 Annual Meeting October 28-31, 2021 Atlanta, Georgia Hosted by Georgia State University, University of Georgia, and Florida State University www.ethnomusicology.org 4 THURSDAY MAY 13, 2021 CONTINUOUS POSTER SESSION Gramophone Celebrities: A Pictorial Gallery Suresh Chandvankar 10:45 am – 12:30 pm PRESIDENT’S WELCOME OPENING PLENARY Using the New U.S. -
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. -
Lucky Strike Hit Parade’ BIG BAND N EWSLETTER JIMP FIRST ISSUE of TWENTY-FIRST YEAR of PUBLICATION
Hagen Williams discovers the internet A book about the early TV ‘Lucky Strike Hit Parade’ BIG BAND N EWSLETTER JIMP FIRST ISSUE OF TWENTY-FIRST YEAR OF PUBLICATION VOLUME 121 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2009 The BIG BAND JUMP radio program had been in ARTIE SHAW - 4" ISSUE syndication nearly three years when the first issue of this BBJ NEWSLETTER was published, dated March- (He explained his first interest in April, 1989. The first issue was typewritten with a music.) I just wanted to get up there separate photo page, run off on a copier. The lead article on the stage with those pretty girls and bright lights and get out of where of that first effort was a commentary by Hagen W i lliams I was living. By the time I got a followed by a double matching quiz involving bands saxophone, that was my key to the golden kingdom. with their most popular records and musician’s nicknames. New records to consider at that time BUDDY RICH - 6" ISSUE involved, among others, a new Dean Hudson LP plus the first mention of Canada’s Spitfire Band. (A different person on stage?) I’m Buddy Rich, THE Buddy Rich when Under the heading “The Human Side” were anecdotes I’m on stage. I involve myself with about Tommy Dorsey giving Glenn Miller $5,000.00 my playing and with my band and when the Miller Band was struggling, Count Basie become one with the audience. It being taught by Fats Waller to play the organ and isn’t a separate thing. -
Steve Lucky & the Rhumba Bums
Steve Lucky & the Rhumba Bums Complete Song List Song Composer/Lyricist Made Popular By: Style Tempo Adam's Rib Wynonie Harris Wynonie Harris Jump Blues/Swing Med Swing All of Me S. Simons/G. Marks Many, Billie Holiday Jazz Standard Med. Swing/Foxtrot Ain’t Gonna Quit You Helen Humes Swinging blues Slow-Med Blues Alimony Blues Aaron (T Bone) Walker T Bone Walker Medium swing Andy of Mayberry (tv theme song) TV theme Fast swing Angelos Dick Siegel Swing Med. Swing At Last Harry Warren, Mack gordon Etta James Ballad Beat Girl John Barry plus Steve Lucky (early '60s movie theme) Bennie’s From Heaven Eddie Jefferson Eddie Jefferson Swing Med Blues After Hours Avery Parrish Swinging blues/jazz slow classic Boogie Blues Gene Krupa, Ray Biondi & James Anita O'Day with Gene Krupa Big Band Medium swing Noble Boogus Interruptus Steve Lucky Steve Lucky Boogie woogie Bowlin' with Jones Steve Lucky Jump blues But Not For Me Gershwin Jazz Standard Slow swinging ballad Bye Bye Baby Aaron (T Bone) Walker T Bone Walker Jump Blues Medium swing Bye Bye Blackbird Mort Dixon Ray Henderson many Medium swing Can I Steal a Little Love? Phil Tuminello Sinatra Jazz Standard Foxtrot Centerpiece John Hendricks, Sweets Edison Lambert, Hendricks & Ross Jazz Standard med-slow swimg Chartreuse Leslie McFarland/Jessie Moore Louis Jordan Med Swing Cherry Red Joe Turner and Pete Johnson Big Joe Turner Blues Classic Slow-Med Blues Chattanooga Choo Choo Mack Gordon & Harry Warren Glenn Miller Choo Choo Ch’ Boogie Louis Jordan Louis Jordan Medium swing Comes Love Brown, Stept & Tobias Billie Holiday Jazz Standard med swing ballad Cotton Tail Duke Ellington Duke Ellington Fast swing Cool it Baby Eddie Fontaine? From the '50s film The Girl Can't Help It (Hey) Daddy Bobby Troup Many: Della Reese, Julie London Cha-cha-cha Daddy Daddy Rudolph Toombs Ruth Brown Rhumba Daddy-o Gene DePaul/Don Raye Louis Jordan med swing Do Nothin’ Til you Hear From Me Ellington/Strayhorn Many Jazz Standard Ballad Do the Pup Steve Lucky Med Western Swing Dog Patch our sax player S. -
The History of Boogie Woogie and Rock'n'roll We Can Assume, That
The history of Boogie Woogie and Rock’n’Roll We can assume, that the history of Boogie Woogie began with the development of new dance- and music styles. At the 1893 world exhibition in Chicaco came up dances within the Ragtime style and around 1900 the so called Chicken-wheel-dance. The breakaway, an other important fore runner of the Boogie Woogie, is a dance style done to Charleston and Swing music where the couples separated to do solo steps. The big breakthrough of the Swing music came 1934, when a white bandleader, Benny Goodman, held his famous concert at the Carnegie Hall and swept the audience off their feet. The next day, New York was in Swing fever. The rest of the work for the final music and dance euphoria was done by Hollywood of course. The name Boogie Woogie signifies piano music with strong rolling bass runs which is said to have its origins around the mid twenties in a lumberjack-camp. The dance steps that were done to that music were called Boogie Woogie. On the famous recording “Pinetop’s Smith Boogie Woogie” from 1928 you can hear him giving instructions for some steps. One of the “Boogie Woogie“ steps is a figure where alternately the right and left leg together with the hips are moved to the outside in light circulating movements. The great success of the Boogie Woogie music came overnight; once more through a concert in Carnegie Hall in New York. Mead Lux Lewis, Albert Ammons and Pete Johnson dragged New York and the rest of the USA along into a Boogie Woogie fever. -
Besonderen J a Z Z – E V E N T ** Ragtime. Blues-Time Boogie
H E R Z L I C H E E I N L A D U N G Z U E I N E M BESONDEREN J A Z Z – E V E N T ** Mittwoch, den 10. Juli 2019 um 19.00 Uhr bei Richard Irniger, Schneckenmannstrasse 8, 8044 Zürich RAGTIME. BLUES-TIME BOOGIE-TIME Stephanie TRICK & Paolo ALDERIGHI - Jazz Piano Duo. Jazz piano duo Stephanie Trick and Paolo Alderighi are back to Villa Irniger with an exciting new project: "Rag-Time, Blues-Time, Boogie-Time." Taking two of the key elements present at the beginning of jazz history – ragtime and the blues – they will show how the two forms (the multi-part form used in ragtime and the 12-bar blues form ) have been used throughout the history of American music and jazz music in a multitude of ways. From early blues to boogie woogie (developed in Chicago by pianists like Jimmy Yancey, Albert Ammons, Pete Johnson, and Meade Lux Lewis), and from the ragtime of Scott Joplin to the intricate compositions of Jelly Roll Morton and Eubie Blake – this is a musical journey that will satisfy fans of classic jazz, the blues, ragtime and early jazz alike! Pioneers in the use of four-hands piano in jazz, Stephanie Trick and Paolo Alderighi have earned widespread success with their arrangements of classics from the stride piano, ragtime, and boogie woogie repertoires, as well as from the swing era and the Great American Songbook. They have performed across the United States, Europe, and Japan, winning the acclaim of critics and fans alike.