Eine Weitergabe der E-Mail-Adresse erfolgt nicht. Boogie Woogie Be With Me 2. Jump And Jive 3. April Mood 4. Blues For Sippie Wallace 5. Sunset Special 6. Eldorado Stomp 7. In The Heat 8. Make Me Call California 9. My Style Blues On Top Boogie Du Printemps Goodnight Blues A transcription of this album is available as sheet music! VRCD 8. CDs: Axel Zwingenberger.
Boogie Woogie Breakdown. Power House Boogie. Boogie Woogie Jubilee. The Boogie Woogie Album. Boogie Woogie - live. Boogie Woogie Bros. Boogie Woogie Classics. Boogie In The Barrelhouse. Swing The Boogie! In"The Boogie Man" had occurred as the title of published music. However none of these sheet music or audio recording examples contain the musical elements that would identify them as boogie-woogie.
The recordings two takes of " Weary Blues " by the Louisiana Five contained the same boogie-woogie bass figure as appears in the "Weary Blues" sheet music by Artie Matthews.
Tennison has recognized these Blues On Top - Axel Zwingenberger - Boogie Woogie Live (Vinyl as the earliest sound recordings which contain a boogie-woogie bass figure. Lead Belly, who was born in MooringsportLa. Lead Belly also said he heard boogie-woogie piano in the Fannin Street district of Shreveport, Louisiana.
Texas, as the state of origin, became reinforced by Jelly Roll Morton who said he heard the boogie piano style there early in the 20th century; as did Leadbelly and Bunk Johnsonaccording to Rosetta Reitz. The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio recording of music appears to be Pine Top Smith's December recording titled, "Pine Top's Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie".
The earliest documented inquiries into the geographical origin of boogie-woogie occurred in the late s when oral histories from the oldest living Americans of both African and European descent revealed a broad consensus that boogie-woogie piano was first played in Texas in the early s.
Additional citations place the origins of boogie-woogie in the Piney Woods of northeast Texas. And all the Old-time Texans, black or white, are agreed that boogie piano players were first heard in the lumber and turpentine camps, where nobody was at home at all. The style dates from the early s. This style was often referred to as a 'fast western' or 'fast blues' as differentiated from the 'slow blues' of New Orleans and St. At these gatherings the ragtime and blues boys could easily tell from what section of the country a man came, even going so far as to name the town, by his interpretation of a piece.
According to Tennison, when he interviewed Lee Ree Sullivan in Texarkana inSullivan told him that he was familiar with "Fast Western" and "Fast Texas" as terms to refer to boogie-woogie in general, but not to denote the use of any specific bass figure used in boogie-woogie. Although the "Texas Western" Railroad Company changed its name to "Southern Pacific", Sullivan said the name "Texas Western" stuck among the slaves who constructed the first railway hub in northeast Texas from Swanson's Landing to the city of Marshall .
A key to identifying the geographical area in which boogie-woogie originated is understanding the relationship of boogie-woogie music with the steam railroad, both in the sense of how the music might have been influenced by sounds associated with the arrival of steam locomotives as well as the cultural impact the sudden emergence of the railroad might have had on newly emancipated African Americans. The railroad did not "arrive" in northeast Texas as an extension of track from existing lines from the north or the east.
Beginning with the formation of the Texas Western Railroad Company in Marshall, Texas, through the subsequent establishment in of the Texas and Pacific Railway company, which located its headquarters and shops there, Marshall was the only railroad hub in the Piney Woods of northeast Texas at the time the music developed. The sudden appearance of steam locomotives, and the building of mainline tracks and tap lines to serve logging operations was pivotal to the creation of the music in terms of its sound and rhythm.
It was also crucial to the rapid migration of the musical style from the rural barrel house camps to the cities and towns served by the Texas and Pacific Railway Company. Boogie-woogie forever changed piano playing, as ham-handed black piano players transformed the instrument into a polyrhythmic railroad train. In the television broadcast of Britain's The South Bank Show about boogie-woogie, music historian Paul Oliver noted: "Now the conductors were used to the logging camp pianists clamoring aboard, telling them a few stories, jumping off the train, getting into another logging camp, and playing again for eight hours, barrel house.
In this way the music got around—all through Texas—and eventually, of course, out of Texas. Now when this new form of piano music came from Texas, it moved out towards Louisiana. It was brought by people like George W.
Thomasan early pianist who was already living in New Orleans by about and writing "New Orleans Hop Scop Blues", which really has some of the characteristics of the music that we came to know as Boogie.
Paul Oliver also wrote that George W. Thomas "composed the theme of the New Orleans Hop Scop Blues — in spite of its title — based on the blues he had heard Blues On Top - Axel Zwingenberger - Boogie Woogie Live (Vinyl by the pianists of East Texas. George Thomas and his brother Hersal Thomas migrated from Texas to Chicago, and brought boogie-woogie with them.
Many elements that we now know as elements of boogie-woogie are present in Hersal and George Thomas' "The Fives". According to Tennison, "although some Boogie Woogie bass figures were present in prior sheet music, LP), the thing that made 'The Fives' so special was the greater amount and variety of Boogie Woogie bass figures that were present in the music as compared to Boogie Blues On Top - Axel Zwingenberger - Boogie Woogie Live (Vinyl bass figures that had been present in previously published sheet music, such as the "Weary Blues" by Artie Matthews.
During the s, many pianists featured this number as a 'get off' tune and in the variations played what is now considered boogie-woogie. Indeed, all modern boogie-woogie bass figures can be found in "The Fives", including swinging, walking broken-octave bass, shuffled swinging chord bass of the sort later used extensively by Ammons, Lewis, and Clarence "Pine Top" Smithand the ubiquitous "oom-pah" ragtime stride bass. Early generation boogie-woogie players recognized basic boogie-woogie bass lines by geographical locations with which they associated them.
Lee Ree Sullivan identified a number of these left hand bass lines for Tennison in The most primitive of these left hand bass lines is the one that was called "the Marshall". It is a simple, four-beats-to-the-bar figure The second-most primitive bass-line, called "the Jefferson", is also four-beats-to-the-bar, but goes down in pitch on the last note in each four-note cycle.
It has been suggested that this downturn in pitch reveals a possible New Orleans influence. Jefferson, Texasabout 17 miles north of Marshall, was the westernmost port of a steamboat route that connected to New Orleans via Caddo Lake, the Red River, and the Mississippi River.
The remaining bass lines rise in complexity with distance from Marshall, Texas as one would expect variations and innovations would occur as the territory in which the music has been introduced expands. In JanuaryJohn Tennison summarized his research into the origins of boogie-woogie with the conclusion that Marshall, Texas is "the municipality whose boundaries are most likely to encompass or be closest to the point on the map which is the geographic center of gravity for all instances of Boogie Woogie performance between and ".
It would not be surprising if there was as yet undiscovered evidence of the earliest boogie-woogie performances buried metaphorically or literally in Northeast Texas.
On May 13,the Marshall City Commission enacted an official declaration naming Marshall as the "birthplace" of boogie-woogie music, and embarked on a program to encourage additional historical research and to stimulate interest in and appreciation for the early African-American culture in northeast Texas that played a vital role in creating boogie-woogie music.
The city of Marshall, Texas is committed to cooperating with any and all efforts to unearth boogie-woogie history and to honor, celebrate, and re-create the vibrant environment that was catalytic to the creation of the most entertaining, revolutionary, and influential of all American musical forms.
Compositional credit is given to Richard M. The Jones composition uses a boogie bass in the introduction with some variation throughout.
Thomas number "The Fives" for Okeh Recordsconsidered the first example of jazz band boogie-woogie. Jimmy Blythe 's recording of "Chicago Stomps" from Blues On Top - Axel Zwingenberger - Boogie Woogie Live (Vinyl is sometimes called the first complete boogie-woogie piano solo record. The first boogie-woogie hit was "Pinetop's Boogie Woogie" by Pinetop Smithrecorded in and first released in Smith's record was the first boogie-woogie recording to be a commercial hit, and helped establish "boogie-woogie" as the name of the style.
The performance emulated a railroad trip, perhaps lending credence to the 'train theory'. Boogie-woogie gained further public attention in andthanks to the From Spirituals to Swing concerts in Carnegie Hall promoted by record producer John Hammond.
They often played in combinations of two and even three pianos, creating a richly textured piano performance.
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