DOCSLIB.ORG

Carolyn Packer Bush Fire Fund Raiser JAZZ CONCERT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carolyn Packer Bush Fire Fund Raiser JAZZ CONCERT Anglican Diocese of Wangaratta Bush fire fund raiser JAZZ CONCERT Wangaratta Cathedral Thursday 16 April 2020 7 - 9.30 pm Tickets: $15 - adults $10 - Students under 16 and pensioners. Donations in addition to the tickets could be made at the door FEATURING: Carolyn Packer Jazz singer & pianist Locally supported by: • Sing Australia • Jazzaratta Carolyn Packer will put you on a high and have your foot tapping to her New Orleans Honky Tonk up beat music. She will be working with local singers and jazz musicians to bring a local as well as international flavour to the evening. • Carolyn is donating her time to this fund raiser • 100% of ticket sales and cash donations will go towards Bush Fire recovery Tickets available from : Edgars Books and News & The Cathedral office and shop CAROLYN PACKER BIOGRAPHY Growing up in Sydney, Carolyn started formal piano lessons as a child and played in all genres, from classical to folk to pop. She was es- pecially influenced, though; by Chicago blues and early boogie woogie, and by her early twenties she was playing around town in a va- riety of jazz and blues outfits. In the early 90s, she was one of the main drivers behind the band Lonesome Boogie, playing pubs and clubs and the festival circuit, including the East Coast Blues & Roots Festival in Byron Bay, Woodford Folk Festival, Lithgow Blues Festival, Thredbo Blues Festival, Southern Cross Festival in Narooma, Goulburn Blues Festival and the Manly Jazz Festival. Lonesome Boogie made two recordings – Grinnin’ and Pickin’ (1995) and Hey This is Our Town (1998), on which Carolyn’s famous pi- ano boogie The Pines Stomp was first recorded. Carolyn continues to wow audiences with The Pines Stomp and it remains one of her most requested tunes today. Carolyn Packer was inspired to produce a traditional jazz album after travelling to New Orleans (2018) where she absorbed the music, culture, art and food during the French Quarter festival, The Crawfish Festival and the Jazz and Blues Heritage Festival in 2018. Carolyn wanted to take the listener on a journey, not only emulating the music of traditional Jazz, but adding her own distinctive blues flavour and feel. Every song on this album was recorded live – including the vocals. Phil Punch, the sound engineer, made sure the musicians were free to explore, intertwining with each other spontaneously. Thus this album is a true representation of the feel, energy and authenticity of the music produced by The Stompin’ Rhythm Aces. THE STOMPIN’ RHYTHM ACES The Stompin’ Rhythm Aces were formed originally as Bill Dudley’s New Orlenians.but after trumpet player, Bill’s departure to Cairns in 2017, Carolyn decided to keep the band going, renaming it after her distinctive Boogie Woogie, The Pine’s Stomp. The band is made up of Jimmy Fletcher – drums, Ed Rapo –bass, David Ridyard –reeds, Greg Englert kindly stepping in on trumpet and Cameron Jones on guitar. MAISON DU SOUL JAZZ BAND New Orleans meets Paris! When Carolyn asked Cameron to play on her latest album, she loved the gypsy swing guitar. Both players re- alized that Carolyn’s swingin’ boogie piano style really complimented Cameron’s hot club gypsy jazz. Maison Du Soul Jazz Band was formed together with Loretta Pameiro on clarinet, John Mackie on double bass and Jim Fletcher on drums. The band have had rave re- views up in the Central Coast and looking forward to building their fan base in Sydney and the Illawarah region over the next few months. Testimonials “…there are very few pianists who are equally at home in the New Orleans Jazz and mainstream idioms as well as the funky stuff like Professor Longhair…” － Mike Tovey, musician “…she looked sensational and played magnificently. So elegant… a very special event” － Michael Watson, WIN TV Melbourne. “She makes Jazz rock! Here on the Central Coast we have been privileged to enjoy Carolyn ‘Pine Cone’ Packer featuring with a number of bands, including her own aptly named Stompin’ Rhythm Aces. You may start out tappin’ your toes, but her Honky-Tonk and Boogie- Woogie will soon have you stompin’ your feet. Her robust piano playing and vibrant vocals will get you bouncin’ along. Carolyn gives the keyboard a complete workout. Glad to see this long overdue CD…I’m sure Clarence [Pinetop Smith] would approve.” － Rod Gale, Secretary, CCLC Jazzleague Gosford “Sitting here listening to Carolyn Packer’s Stompin’ Rhythm Aces album exceeds all my expectations. Not only has she got great musi- cians behind her, but also the recording is tops – very professional. I love hearing Carolyn play, but this CD is going where I put my mu- sic I can’t be without.” － Leonie Galton, Vice President, Sydney Jazz Club 2019 Recordings There’ll Be Some Changes Made– Carolyn Packer’s Stompin’ Rhythm Aces Herding Cats, Blues Reform School Live at the Basement– Foreday Riders Live it, Live at Patonga (DVD) – Hip Sister Jazz Portraits– Carol Ralph Freshly Squeezed– Lemon Sqeezin’ Daddies No Relation– Finn Hey This is Our Town, Pickin’ n Grinnin’ –Lonesome Boogie .
Load more

Recommended publications
  • Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
    Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can.
    [Show full text]
  • CONGRESSIONAL RECORD— Extensions of Remarks E1705 HON
    October 16, 2012 CONGRESSIONAL RECORD — Extensions of Remarks E1705 Ambassador Chris Stevens will be remem- endary Blues Band to concentrate on solo people through his non-profit, Operation bered for his strong sense of dignity, his hu- work. Within two years, he had cut his first do- HOPE Helping Other People Endure. mility, and his generous service to others. He mestic record as a frontman and pursued an Selfless doesn’t even begin to describe will be truly missed by all who loved him and ambitious tour schedule. He was featured on Angel Gomez. by all he served through the magnitude of his several nationally syndicated news and music Many lives have been touched by Angel, an life’s work. programs, and appeared in numerous movie appropriate name for a man with a heart the f productions and TV and radio ads. size of Texas. The great irony of Pinetop’s career is that A native of El Paso, Texas, he attended HONORING MR. JOE WILLIE he didn’t blossom as a headliner until his Bowie High School and later joined the United ‘‘PINETOP’’ PERKINS eighth decade on the blues scene—a phe- States Navy. He is a proud Bowie Bear Alum- nomenon that resulted in the release of 15 ni and Veteran. HON. BENNIE G. THOMPSON solo records in 15 years, beginning in 1992. His real passion, other than serving his OF MISSISSIPPI On his 1998 release, ‘‘Legends,’’ Pinetop col- county in uniform, has always been helping IN THE HOUSE OF REPRESENTATIVES laborated with master blues guitarist Hubert others in need.
    [Show full text]
  • 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.
    [Show full text]
  • Ravi Coltrane Steps out of His Parents' Shadows And
    001_COVER.qxd 7/18/08 3:49 PM Page 1 DOWNBEAT RAVI COLTRANE COURTNEY PINE KENNY WERNER CRAIG TABORN COLTRANE RAVI DownBeat.com $4.99 SEPTEMBER 2008 09 0 09281 01493 5 SEPTEMBER 2008 U.K. £3.50 002-005_MAST.qxd 7/18/08 3:54 PM Page 2 002-005_MAST.qxd 7/18/08 3:55 PM Page 3 002-005_MAST.qxd 7/18/08 3:55 PM Page 4 September 2008 VOLUME 75 – NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser Intern Mary Wilcop ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 800-554-7470 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Kansas: Kevin Whitehead; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, Willard Jenkins, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • 15019 Hon. Bennie G. Thompson Hon. Silvestre Reyes
    October 16, 2012 EXTENSIONS OF REMARKS, Vol. 158, Pt. 11 15019 The diverse and instrumental positions he held dropped out of school after the third grade. He 1997 and 2000 respectively. This was followed as a member of the U.S. Foreign Service in taught himself the rudiments of blues guitar on by a 2005 Grammy nomination for ‘‘Ladies Israel, Syria, Egypt, Saudi Arabia, Libya and a homemade instrument called a diddley bow: Man,’’ released by MC Records. That same Washington, D.C., among others, helped to a length of wire stretched between nails driven year, he was also presented with a lifetime build his deep and personal understanding of into a wall. He began entertaining at dances achievement award at the Grammys. the Middle and Near East. and house parties at age 10 and soon learned Aside from his well-deserved Grammy rec- A fluent Arabic speaker, Stevens was se- to play the piano as well. While still in his ognition, Pinetop also received a National Her- lected by President Obama to be the U.S. teens he left Mississippi and traveled to Chi- itage Fellowship in 2000 from the National En- Special Representative to the National Transi- cago. But he came back to Mississippi and dowment for the Arts. He has been featured in tional Council in Libya, undertaking the com- didn’t decide to make Chicago his home until the documentary ‘‘Piano Blues,’’ directed by plicated task of creating connections with in- the 1950s. Clint Eastwood for the Martin Scorsese PBS surgents and tribal groups on behalf of the He worked primarily in the Mississippi Delta series, ‘‘The Blues.’’ In addition, he continued United States.
    [Show full text]
  • MCA 1300 Jazz Heritage Series
    MCA 1300 Series Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA 1300 Jazz Heritage Series: Note: This series features reissues of old jazz material, most of which predates stereo. Most of these releases before 1365 (and some after) are mono or rechanneled stereo. MCA 1300 - Louis and the Good Book - Louis Armstrong & His All-Stars with The Sy Oliver Choir [1980] Reissue of Decca DL 8741. Nobody Knows the Trouble I’ve Seen/Shadrack/Go Down Moses/Rock My Soul/Ezekiel Saw De Wheel/On My Way//Down By The Riverside/Swing Low, Sweet Chariot/Sometimes I Feel Like A Motherless Child/Jonah And The Whale/Didn’t It Rain/This Train MCA 1301 - Young Louis “The Side Man” (1924-1927) - Louis Armstrong in Various Bands [1980] Reissue of Decca DL 9233. Words - Fletcher Henderson And His Orchestra/When You Do What You Do - Fletcher Henderson And His Orchestra/Lucy Long - Perry Bradford’s Jazz Phools/I Ain't Gonna Play No Second Fiddle - Perry Bradford’s Jazz Phools/Static Strut - Erskine Tate's Vendome Orchestra/Stomp Off And Let's Go - Erskine Tate's Vendome Orchestra/Georgia Bo Bo - Lil’s Hot Shots/Drop That Sack - Lil’s Hot Shots//Easy Come, Easy Go Blues - Jimmy Bertrand's Washboard Wizards/Blues Stampede - Jimmy Bertrand's Washboard Wizards/I'm Goin' Huntin' - Jimmy Bertrand's Washboard Wizards/If You Wanna Be My Sugar Poppa - Jimmy Bertrand's Washboard Wizards/Weary Blues - Johnny Dodds Black Bottom Stompers/New Orleans Stomp - Johnny Dodds Black Bottom Stompers/Wild Man Blues - Johnny Dodds Black Bottom Stompers/Melancholy - Johnny Dodds Black Bottom Stompers MCA 1302 - Rhythm is our Business 1934-1935 - Jimmie Lunceford and His Orchestra [1980] Reissue of Decca DL 9237.
    [Show full text]
  • Encyclopedia: Jazz Pianists
    Encyclopedia: Jazz pianists Supporter Benefits Signup Login Sources Home Reviews About Questions Forums Contact Encyclopedia Correlations Countries Stats Flags Maps Plots Pies Added Mar 10 Encyclopedia: Jazz pianists ● Our next offering Updated 68 days 15 hours 43 minutes ago. ● Latest newsletter ● Student area Other descriptions of Jazz pianists ● Lesson plans Categorized listing of Jazz pianists: ● Tsunami stats! Well known jazz pianists include: ● We need editors Contents Top Graphs 1 Early Pioneers 2 Giants of the Modern Era ● Richest 3 Important Pianist-Composer/Arrangers 4 Major Figures ● Most Murderous 5 Other Well-known Figures ● Most Populous 6 Jazz Singer/Pianists 7 Jazz Musicians Who Double on Piano ● Most Militaristic 8 Celebrities Who Play Jazz Piano ● Most Taxed ● Poorest Early Pioneers ● Longest Living ● Albert Ammons, (1907-1949) ● Most Generous ● Count Basie, (1904-1984) ● Most Educated ● Nat "King" Cole, (1919-1965) ● Duke Ellington, (1899-1974) ● Most Athletic ● Earl Hines, (1903-1983) ● Largest ● James P. Johnson, (1894-1955) ● Marian McPartland, (1918- ) ● Most Corrupt ● Jelly Roll Morton, (1890-1941) ● Most Trigger Happy ● Clarence "Pinetop" Smith, (1904-1929) More Stats ● Willie "The Lion" Smith, (1897-1973) ● Fats Waller, (1904-1943) ● Mary Lou Williams, (1910-1981) ● Teddy Wilson, (1912-1986) Giants of the Modern Era ● Dave Brubeck, (1920- ) ● Ray Charles, (1930-2004) ● Chick Corea, (1941- ) ● Bill Evans, (1929-1980) ● Errol Garner, (1921-1977) ● Herbie Hancock, (1940- ) ● Ahmad Jamal, (1930- ) ● Keith Jarrett,
    [Show full text]
  • Boogie Welcome and Tips
    STYLISTIC & CREATIVE IDEAS FOR YOUR BOOGIE WOOGIE WELCOME Thanks for checking out the course! I hope it will enhance your understanding & creativity by unlocking doors to different areas of this amazing sound-world. It’s the earliest style of music that really got me hooked on playing the piano – it’s unavoidably infectious, even a hundred years on from the time it was emerging. I’ve tried to give a certain amount of ‘method’ but also present you with tons of ideas, riffs, and approaches that you can dip into and take away. Cheers! Paddy Milner GENERAL TIPS • PRACTICE : ) Short & concentrated regular practice is better than long but infrequent practice. It’s true that you will need to do some regular practice & playing in order to make the most of any music learning process. But the good news is you don’t have to do 5 hours a day! Most of us have busy lives one way or another and Time can be a premium. So, 10 minutes a day of concentrated practice is worth more than an hour or two at the weekend. • LISTEN, LISTEN & LISTEN AGAIN Make time to listen to the style of music you’re learning to play. I can’t underestimate how important this is! With time, you will absorb the musical language. Load up with Boogie Woogie tunes and listen to: Pinetop Smith The original Albert Ammons Pete Johnson (solo work and records with Big Joe Turner) Meade Lux Lewis Hersal Thomas (an unsung hero who died tragically young, big influence on Albert Ammons) Jimmy Yancey Cow Cow Davenport Joe Sullivan Freddie Slack www.musicgurus.com ©Paddy Milner 2017 www.paddymilner.com GENERAL PRACTICE EXERCISES & METHODS I’ve suggested specific practice exercises during the course but here are some general tips that can be used for most of the material we will be covering: • Use a metronome.
    [Show full text]
  • MUS-2540: Jazz History Listening I 1
    MUS-2540: Jazz History Listening I 1 MUS-2540: JAZZ HISTORY LISTENING I Cuyahoga Community College Viewing: MUS-2540 : Jazz History Listening I Board of Trustees: November 2020 Academic Term: Fall 2021 Subject Code MUS - Music Course Number: 2540 Title: Jazz History Listening I Catalog Description: Through directed, analytical and comparative listening experiences, students gain detailed knowledge of and familiarity with selected works of jazz masters (circa 1850s -1940s) from pre-jazz roots music and early jazz through swing jazz. A listening laboratory and aural training course, this is a companion and supplement to MUS-2520 Jazz History I. Credit Hour(s): 1 Lab Hour(s): 2 Requisites Prerequisite and Corequisite MUS-1650 Jazz Theory I, and concurent enrollment in MUS-2520 History I, or departmental approval. Outcomes Course Outcome(s): Through detailed listening and analysis of Jazz Artists from the Early Jazz Era through the Swing Era, students will find and use notable jazz artists as models for success as future performing artists, composers and arrangers in today's music industry. Objective(s): 1. Recognize, identify, analyze and compare characteristic sounds of various styles and sub-styles of pre-jazz roots music (work songs and field hollers, minstrelsy, church music and spirituals, 19th entury band music, blues, ragtime), early jazz (New Orleans, Chicago, Kansas City, New York) and swing jazz. 2. Recognize, identify, analyze and compare characteristic sounds of the important masters of prejazz roots music, early jazz and swing jazz. 3. Recognize, identify, analyze and compare the important works of the masters of pre-jazz roots music, early jazz and swing jazz.
    [Show full text]
  • 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.
    [Show full text]
  • Delta Music Heritage Research Project - Part I
    II’m’m GGoin’oin’ OOverver ’’nn OOl’l’ HHelenaelena Arkansas Delta Music Heritage Research Project - Part I Prepared for Department of Arkansas Heritage Delta Cultural Center Helena, Arkansas Helena-West Helena Prepared by Advertising and Promotion Commission Mudpuppy & Waterdog, Inc. Helena, Arkansas Versailles, Kentucky December 31, 2015 I’m Goin’ Over’ n Ol’ Helena . Delta Music Heritage Research Project Part I Prepared by Joseph E. Brent Maria Campbell Brent Mudpuppy & Waterdog, Inc. 129 Walnut Street Versailles, Kentucky 40383 Prepared for Katie Harrington, Director Department of Arkansas Heritage Delta Cultural Center 141 Cherry Street Helena, Arkansas 72342 Cathy Cunningham, Chairman Helena-West Helena Advertising and Promotion Commission PO Box 256 Helena, Arkansas 72342 December 31, 2015 Table of Contents Part I Acknowledgments ...............................................................................................................1 Introduction ........................................................................................................................3 Musical Heritage of the Arkansas Delta ............................................................................5 Blues Music in the Arkansas Delta ....................................................................................7 Blues Artists of the Arkansas Delta ....................................................................................37 Part II The Growth of Popular Music ...........................................................................................1
    [Show full text]
  • Pinetop Perkins
    Pinetop Perkins Biography Pinetop Perkins is one of the last great Mississippi bluesmen still performing. He began playing blues around 1927 and is widely regarded as one of the best blues pianists. He’s created a style of playing that has influenced three generations of piano players and will continue to be the yardstick by which great blues pianists are measured. Born Willie Perkins, in Belzoni, MS, in 1913, Pinetop started out playing guitar and piano at house parties and honky-tonks but dropped the guitar in the 1940s after sustaining a serious injury in his left arm. Perkins worked primarily in the Mississippi Delta throughout the thirties and forties, spending three years with Sonny Boy Williamson on the King Biscuit Time radio show on KFFA, Helena, Arkansas. Pinetop also toured extensively with slide guitar player Robert Nighthawk and backed him on an early Chess session. After briefly working with B.B. King in Memphis, Perkins barnstormed the South with Earl Hooker during the early fifties. The pair completed a session for Sam Phillips’ famous Sun Records in 1953. It was at this session that he recorded his version of Pinetop Smith’s Boogie Woogie. By this time, Pinetop had developed his own unmistakable sound. His right hand plays horn lines while his left kicks out bass lines and lots of bottom. It was Pinetop, along with Pete Johnson, Meade Lux Lewis, Albert Ammons, and Little Brother Montgomery, who provided the basic format and ideas from which countless swing bands derived their sound - whole horn sections playing out what Pinetop’s right hand was playing.
    [Show full text]