jueves, 26 de noviembre de 2015

J.B.HUTTO & HIS HAWKS


    J.B HUTTO & HIS HAWKS van grabar aquest tema que apareix en la compilació que acaba de sortir al mercat, ( reeditada ) en una edició molt curosa i recomanable 100% que duú per títol DOWN HOME BLUES CLASSICS - CHICAGO - 1946-1954 , forma part d´una serie de compilacions dedicadas als diferents estils de Blues arreu de l´estat americá .
Podeu veure una amplia informació del artista i mes videos si entreu al link  que figura mes abaix . 



                                                 




J.B. Hutto -- along with Hound Dog Taylor -- was one of the last great slide guitar disciples of Elmore James to make it into the modern age. Hutto's huge voice, largely incomprehensible diction, and slash-and-burn playing was Chicago blues with a fierce, raw edge all its own. He entered the world of music back home in Augusta, GA, singing in the family-oriented group the Golden Crowns Gospel Singers. He came north to Chicago in the mid-'40s, teaching himself guitar and eventually landing his first paying job as a member of Johnny Ferguson & His Twisters. His recording career started in 1954 with two sessions for the Chance label supported by his original combo the Hawks (featuring George Mayweather on harmonica, Porkchop Hines on washboard traps, and Joe Custom on rhythm guitar), resulting in six of the nine songs recorded being issued as singles to scant acclaim. After breaking up the original band, Hutto worked outside of music for a good decade, part of it spent sweeping out a funeral parlor! He resurfaced around 1964 with a stripped-down version of the Hawks with two guitars and drums but no bass, working regularly at Turner's Blue Lounge and recording blistering new sides for the first time in as many years. 

From there, he never looked back and once again became a full-time bluesman. For the next 12 years Hutto gigged and recorded with various groups of musicians -- always billed as the Hawks -- working with electric bass players for the first time and recording for small labels, both in the U.S. and overseas. After fellow slide man Hound Dog Taylor's death in 1976, J.B. "inherited" his backup band, the Houserockers. Although never formally recorded in a studio, this short-lived collaboration of Hutto with guitarist Brewer Phillips and drummer Ted Harvey produced live shows that would musically careen in a single performance from smolderingly intense to utter chaos. Within a year, Hutto would be lured to Boston, where he put together a mixed group of "New Hawks," recording and touring America and Europe right up until his death in the mid-'80s. Hutto was an incredibly dynamic live performer, dressed in hot pink suits with headgear ranging from a shriner's fez to high-plains drifters' hats, snaking through the crowd and dancing on tabletops with his 50-foot guitar cord stretched to the max. And this good-time approach to the music held sway on his recordings as well, giving a loose, barroom feel to almost all of them, regardless of who was backing him. ~ Cub Koda, Rovi

More info  of  J.B. HUTTO : 

24/6/2009 : http://sentirelblues.blogspot.com.es/2009/06/jbhutto.html

miércoles, 25 de noviembre de 2015

MICHAEL PEWNY



                                                 


                                                 


                                                 



Michael Pewny néixer l'11 de novembre de 1963 a Viena i va començar als sis anys, la música precarregat pel seu pare a prendre lliçons de piano clàssic. Als 13 anys, va descobrir el seu amor pel blues i es va dedicar, a més de la seva educació, escoltant principalment de goma laca i vinil registres dels seus ídols Albert Ammons, Pete Johnson i Meade Lux Lewis, que van fer populars aquesta música en els anys 30 als EUA .. El Vienna Boogie Woogie reunió el 1976 al Konzerthaus de Viena, i el llegendari Boogie Woogie vos al programa de TV "Spotlight" va ser un detonant decisiu. Ja en 1979 va tenir la seva primera aparició pública de Michael i de nou en 1981 al club de Viena "Tapes de papà". Després de 9 anys d'experiència al club de jazz i moltes sessions amb amics (Jazzland, Roter Engel), per cert era encara l'exèrcit i la universitat per assistir, va prendre en 1988 el seu primer LP "Viena Boogie Woogie" amb Torsten Zwingenberger a la bateria en la qual està ara també disponible en CD és obtenible. Ja en 1990 va ser descobert, la companyia discogràfica alemanya "Bellaphon" i va produir, amb Michael i el cantant anglès Dana Gillespie, el seu primer CD "corró de la mà esquerra". Després de diversos viatges als Estats Units, vorliebend a Nova Orleans, amb Günther Schifter, gires i aparicions en televisió, va prendre en 1992 el seu CD de segona "Boogie On My Mind" amb Martin Wichtl i talentosa cantant Sabine Ruzicka, de Krems, en el cooperació a través de S'ha completat els seus estudis de medicina. Va durar fins a 1996, quan el tercer disc, "Crazy 'Bout Boogie" amb Christian Dozzler, es va registrar. Nombrosos festivals al país (Festival de Viena Jazz) ia l'estranger (París, Munic, Ecaussinnes, Burghausen) i viatges a Los Angeles i Barcelona inspirats Michael 1.999 juntament amb Al Cook, Martin Breinschmid i el seu pare Leopold, l'enregistrament de "Movin 'a Chicago ". Va ser la primera producció sota el seu propi segell, "Susy Records". El més destacat va ser el Festival de Jazz de Burghausen, 1998 amb Big Jay McNeely i Dana Gillespie. Amb motiu del seu 20 aniversari etapa, aparegut el 2000, el CD del Mil·lenni "20 Anys Jamboree", amb el Prof. Oscar Klein, Gerd Stächelin i Hans Bichler. El 2001, "blues Steamin '" Susy Registres en el mercat, en el que la germana Shirley Sydnor (EUA) i el nucli Katie es poden escoltar. Amb motiu del seu concert al castell Perchtoldsdorf el 2002, es va decidir que aquestes gravacions per dur a terme amb Anke Lamprecht i el cor intemporal, en CD. El 2003, Michael també 9.CD, "Michael Pewny compleix Karen Caroll" va ser publicat. 2003 va ser un any interessant a nivell internacional. En primer lloc, la producció del seu primer DVD i festivals a Lugano (Suïssa) amb Silvan Zingg i Axel Zwingenberger, La Roquebrou (sud de França) amb els seus col·legues de tot el món així. B. Jean Paul Amaroux, Martijn Schok, Ricky Nye, Christian Bleiming, Errol Dixon, Stefano Franco i Greta Holtrop i finalment Chicago, i la seva trobada amb Karen Caroll, dels Estats Units, a Chicago, en el qual l'any va començar el concert de 2004. A més, hi va haver un concert a França, Suïssa i Polònia, així com el seu primer festival als EUA .. El neuerste Live CD anomenat "Live from Cincinnati". 
2009 marca el seu 30 aniversari a l'escenari Michael. 
Leopold Pewny, Viena, 2009 

Traducció Google Translate 











martes, 24 de noviembre de 2015

JOHN TENNISON a.k.a JOHN NONJOHN


    JOHN TENNISON también conocido como NONJHON es un multiestrumentista fiel representante del movimiento originado por la que se autoconsidera la primera plaza donde apareció el BOOGIE-WOOGIE  en Marshall - TEXAS - es un pianista de prestigio que gusta de experimentar con frecuentes improvisaciones cogiendo como base el Boogie-Woogie, una pequeña muestra de todo cuanto os hablamos : 
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John "Nonjohn" Tennison is a multi-instrumentalist and songwriter who writes music for the mind and the body.  When playing Boogie Woogie, Tennison's left-handed ostinato juggernaut and right-handed pyroclastics create a contrapuntal, polyrhythmic, trance-inducing texture that takes Boogie Woogie piano places it has never been before.  Because of his driving, high-energy Boogie Woogie grooves, Tennison has been called "The Texarkana Train."  Harmonically and melodically, Tennison's music usually has a strong sense of tonality (musical key), and has been influenced by the melodies and phrasing of sources as diverse as Bluegrass and the classical music of India.  However, Tennison also ventures into experimental and dissonant harmonies that might sound odd to some ears.  Tennison's intense percussive style has been influenced by African, Arabic, Indian, and Samba drumming.  "Fricking" (an acronym for FingeR pICKING) is the word used by Tennison to refer to his hammer-on style of solo guitar playing.  Tennison's lyrics focus on social critique, timeless philosophical issues, and often have a satirical edge.  Overall, the spirit of Tennison's music is conveyed by the freedom implied by the African Bantu word, "Mbuki Mvuki," which means to remove one's clothes in order to better dance or perform.
              


Please , go his web-site : Boogie Woogie: Born in Marshall, TX, Loved Around The World  


                                                                                             
               


Highlights from concerts with stars from around the world and hometown favorites performing in Marshall, TX: Birthplace of Boogie Woogie during 2013. Axel Zwingenberger, Lila Ammons, Philippe LeJeune, Nat Dove, Eden Brent, John Tennison, Bobbie Oliver, The Jive Jumpers and 88-year-old Joseph Parrish. Enjoy. http://facebook.com/birthplaceofboogi...


                                                                                                 
                  


This is the first Boogie Woogie improvisation from the 290 Texas concert by John Tennison on March 21, 2015. Tennison is accompanied by Jeff Ballard on drums. In this and other performances during the concert, Tennison utilizes his alternate tuning technique known as Quantonality.

lunes, 23 de noviembre de 2015

MICHAEL ALF

                                                   
                      Pianista alemany , nascut a Starnberg l´any 1965 ,per més info. us remetem al seu lloc web i al seu Facebook . Per que l´aneu conéixent us oferim unes peçes clásiques del reperetori del Boogie-Woogie . 

                                                         


                                                     


                                                   


Biografía traduïda directament del seu lloc web :


Michael Alf, Piano i Veu 
· Nascut a 1965.02.01 a Starnberg / Alemanya
· Primers lliçons de piano a l'edat de sis anys
· Els estudis a l'Estat. Acadèmia de Música de Munic des 1984 - 1989, en particular en l' 
subjectes f especialització en piano, violí, direcció i teoria de la música
· A partir de 1990, una àmplia activitat concertística com a pianista, especialment en l'estilística 
Àrees f Blues, Boogie Woogie i el jazz.
· Compromís amb músics de primera classe i bandes com Pete York, Chris Farlow, 
f Charly Antolini, Louisiana Red, Al Jones, Angela Brown, Connexió Boogie, Sidney Ellis, 
ff Jimmy Wilson, Georg Ringsgwandl, teloner de BB King
· Touring i rendiment, entre altres coses, pel Goethe-Institut (París, Copenhaguen, Estocolm), a l' 
f nombrosos festivals (per exemple Jazz Festival Eindhoven, Berna Jazz Fest, Jazz Setmana Burghausen) 
ff en el famós club de jazz (Jazz Club Unterfahrt Munic, Dixieland Saló de Stuttgart, 
f closca d'ou de Berlín, etc.) oa les sales de concerts de diverses tendències (Philharmonie 
f Munic, Teatre de la Ciutat Ludwigsburg, campana de Bremen, entre d'altres)
· Àmplia activitat musical també a la zona de Gala en esdeveniments corporatius 
f (incloent Apple, Benetton, Banc Alemany, Siemens, BMW), en hotels de renom 
v (incloent Chicago Beach Hotel Dubai, Arlberg Hospiz Hotel, Bayerischer Hof Munic) 
f amb creuers (per exemple, MS Delphin, jazz-a-Sea Festival), festes privades (incloent Hubert Burda, 
f Johannes Rau, Bayern), etc.
· Nombrosos comunicats de CD (corrent propi CD: "Negre de la fantasia") 
f i la participació en programes de televisió (incloent ZDF, Bayerischer Rundfunk, RTL)

· A més de l'excel·lent, de gran abast, "meravellós" Nova Orleans i 
f Boogie Woogie piano, també en repetides ocasions "adornat" amb títols cantats, 
f destaca Michael Alf per la seva diversitat estilística i la seva enorme presència a l'escenari, 
f juntament amb la presència carismàtica i un agut sentit de la respectiva 
f audiència











jueves, 19 de noviembre de 2015

MARION ABERNATHY


Marion Abernathy, también conocida como "La mujer de Blues", fue uno de las pocas artistas que jugó un papel clave en el inicio de catálogos  especializados. En 1944, el fundador Art Rupe, habiendo sintió engañado en su primera colaboración en un sello discográfico, unió  lo que entonces se conocía como Juke Box Records. Abernathy, que él llamó "La Mujer del Blues ", fue el segundo artista nunca antes lanzado con esta discográfica. 

                                                      
                   


                                  

                                    


Marion Abernathy (born around 1920 in Chicago , circumstances of death unknown) was an American singer of Rhythm & Blues, which was also known as The Blues Woman and on the west coast of the United States was active.
Abernathy, a discovery of Johnny Otis, one of the musicians who play a key role at the start of Art Rupes R & B label Specialty Records had.  Her first 1944 recorded for the previous label Juke Box Song "Voo It! Voo It "was the second release of the label! And in 1945 a regional hit. In the same year she took for regional labels like Bel-Tone and Melodisc Records, accompanied among others by Buddy Banks, Bob Mosely and Lucky Thompson.  With Wynonie Harris, Jo Jo Adams, T-Bone Walker and Mabel Scott she was in this time to the stars of Afro-American music scene of the Central Avenue in Los Angeles. 
She took in the postwar years, a number of R & B songs like "Baggin 'the Boogie", "Goin' Hanes Okey Doke-". "Yes-Hoosey Baby", "My Man Boogie" (with Hot Lips Page 1947), 
"Undecided" and "You is not got nothin 'for 
me" (with Paul Bascomb) on.  In her photographs for King Records 1949 it was of Joe Newman, Marshall Royal, Bumps Myers, Gerald Wiggins and Chico Hamilton accompanied. Tom Lord According she was involved between 1945 and 1949 in nine recording sessions. In 1960, she took on small labels. 



LILLETTE THOMAS

                                                 
      La información que os facilitamos procede del sitio referenciado más abajo, ( recomendamos visita ) nos ha sido materialmente imposible encontrar otras referencias distintas a las que os ofrecemos lo que  hacemos por considerarlo de interés general para todos los aficionados al Boogie-Woogie. 

Info By The Vocal Group Harmony. com 


                                   

LILLETTE'S BOOGIE by Lillette Thomas, here released on a 78 rpm Sterling label record in 1945, the very first issue for this label. Cool!


                                    


                     
                                      

miércoles, 18 de noviembre de 2015

VICTOR WAINWRIGHT & THE WILDROOTS


    Os presentamos este tema extraordinario de VICTOR WAINWRIGHT que forma parte de su nuevo trabajo discográfico de reciente aparición. 


                                             



Info about new release VICTOR WAINWRIGHT & THE WILDROOTS 

http://sentirelbluesnewreleases.blogspot.com.es/2015/10/victor-wainwright-wildroots-boom-town.html



                                                     





CAROLINE DAHL


     Ella es originaria de Louisville, Kentucky, donde tocó  con el Metropolitan  Blues All Stars 
     San Francisco ha sido su hogar por más de 30 años, y donde solía tocar habitualmente en el 
     Mama Royal Cafe de Mill Valley junto a Tom Rigney y Flambeau . 

      
                 

                                                                                               

More info  & videos about CAROLINE DAHL in : 

http://sentirelblues.blogspot.com.es/2011/10/caroline-dahl.html


    Lluís Coloma , con Caroline y Barrelhouse Chuck  in Bcn 


Caroline, Manolo German (bass) & Marc Ruiz (drums)

Festival de Blues de Barcelona (Spain 2008)


TODD RHODES


Todd Washington Rhodes (Hopkinsville, Kentucky, 31 d'agost de 1890 - Flint, Michigan, 4 de juny de 1963) fou un pianista, vibràfonista i arranjador estatunidenc.
Inicià els estudis de solfeig i piano a l'edat de quinze anys, en l'Escola de Música de Springfield (Ohio), i més tard completà la formació musical amb el curos d'harmonia i composició en el Conservatori d'Erie (Pennsilvània). Durant la dècada dels anys vint, formà part de l'orquestra McKinney's Cotton Pickers, amb els quals membres principals, el saxofonista Milton Senior i el bateria William Mackinney ja havia actuat amb el nom de Synco Trio. A partir de 1934 s'instal·là a Detroit, on, paral·lelament a les actuacions que realitzà amb grups locals, treballà en la indústria de l'automòbil.
Inspirat en el pianista i compositor James P. Johnson, arribà ser un gran intèrpret de Blues i Boogie-woogie, a més d'un sòlid acompanyant. A finals dels anys quaranta assoli gran popularitat a través dels enregistraments de diversos discs amb el seu propi grup musical i la participació de cantants com Wynonie Harris i LaVern Baker.

Dos Boogie-Woogies extraídos del album de TODD RHODES AND HIS ORCHESTRA " BLUES FOR THE RED BOY " . 

                                               



                                                 


More info about TODD RHODES : 
http://sentirelblues.blogspot.com.es/2011/12/todd-rhodes.html

domingo, 15 de noviembre de 2015

MARTIJN SCHOK

                           

El nom Martijn Schok és sinònim de boogie woogie i del piano blues. Martijn ha participat a nombrosos festivals de jazz i blues d'Europa i pot ser vist regularment en festivals als EUA .. 

Martijn toca en solitari, així com amb combo de 5 7 membres , i té fins ara llançat setze CDs on el hi es present el boogie woogie. També, Martijn es pot escoltar en molts CDs de convidats 

19 octubre 2013, Martijn va rebre el Premi Alemany Woogie Boogie Pinetop "Pianista de l'Any 2013/2014" 

Estil de piano de Martijn es caracteritza per una gran dosi de swing, una figura  constant i un alt grau de virtuosisme. És clar que té una gran admiració per la música de la dècada dels originaris  de boogie woogie americans. 

Martijn és un intèrpret respectat dins  l'estil boogie woogie i apareix en festivals de renom internacional, com ara el festival a Nova Orleans (Louisiana, EUA), el Festival de Blues de Queen City a Cincinnati (Ohio, EUA), el Boogie & Blues Festival Motor City a Detroit (Michigan, EUA), dels blaus passions a França, i els festivals internacionals de boogie woogie a Suïssa, Bèlgica, França, Itàlia, Anglaterra, Espanya i els EUA .. 

A més de les seves qualitats interpretatives, Martijn és el director artístic i fundador del Boogie & Blues Festival d'Holanda Heineken Internacional que se celebra cada any a Golden Tulip Hotel Heerlickheijd van Ermelo, al centre d'Holanda. 
                       
                          

          

Groovin' The Boogie by the Martijn Schok Boogie & Blues Band.
Recorded during the International Boogie Woogie Festival Holland 2012, March 17th 2012, Royal Tulip Hotel Heerlickheijd van Ermelo, Holland.

www.martijnschok.com / www.boogiefestival.nl 

Martijn Schok: piano
Rinus Groeneveld: saxophone
Stephan Jankowski: guitar
Maarten Kruijswijk: drums
Hans Ruigrok: bass






                         




                               


                                         



Gotta Gimme Watcha Got, performed by the Martijn Schok Boogie & Blues Band.
Recorded during the International Boogie Woogie Festival Holland 2012, March 17th 2012, Royal Tulip Hotel Heerlickheijd van Ermelo, Holland.

www.martijnschok.com / www.boogiefestival.nl

Martijn Schok: piano
Greta Holtrop: vocals
Rinus Groeneveld: saxophone
Stephan Jankowski: guitar
Maarten Kruijswijk: drums

Hans Ruigrok: bas




KEN KERSEY


Uno de los grandes pianistas de swing de transición de la década de 1940 (junto con Nat King Cole), Ken Kersey nunca llegó a ser demasiado famoso, sin embargo  fue muy valorado por sus colegas músicos. Kersey aprendió música de sus padres (su madre tocaba el piano y su padre era un violonchelista) y estudió piano y la trompeta en el Instituto de Artes de Detroit musicales. Kersey se mudó a Nueva York en 1936 y pronto encontró trabajo tocando con  Lucky Millinder, Billy Hicks, Frankie Newton, Billie Holiday, Roy Eldridge, Red Allen (1941), Cootie Williams, Andy Kirk (donde en 1942 reemplazó a  Mary Lou Williams ) y muchos otros; su "Cocktail Boogie Woogie" fue grabado por Kirk.  ( podéis oirlo más abajo ) Sirvió en el ejército durante 1943 a 1945 (a veces tocando la trompeta en bandas del Ejército) y luego ganó cierto renombre por su forma de entender el  Jazz en los espectáculos en gira Philharmonic (1946-1949). Kersey permaneció muy solicitado por los grupos dominantes, trabajando con Eldridge, Buck Clayton, Edmond Hall, Sol Yaged, Charlie Shavers, y Red Allen. Por desgracia, Kersey  se vio obligado a retirarse de la música a finales de los años 50 debido a una dolencia ósea. Ken Kersey registró sólo una docena de títulos como líder, cuatro para Savoy (1946), dos para Clef (1949), un par de círculo (1950) y una fecha de cuatro canciones de Foxy (1951) que incluía Hot Lips página y Pablo Quinichette.

                                                     


Ken Kersey (April 3, 1916, Harrow, Ontario – April 1, 1983, New York City) was a Canadian jazz pianist who spent most of his life working in the United States.
Kersey was born into a musical family and studied piano and trumpet while attending the Detroit Institute of Musical Arts. In 1936, Kersey moved to New York City, where he played with Lucky Millinder, Billy Hicks, Frankie Newton, Billie Holiday, Roy Eldridge, Red Allen, Charlie Christian, Benny Goodman, Cootie Williams and was a member of the John Kirby Sextet. In 1942 he replaced Mary Lou Williams as Andy Kirk's pianist; Kirk recorded his composition "Boogie Woogie Cocktail". He joined the Army from 1943 to 1945, where he occasionally played trumpet in military bands, then played from 1946 to 1949 with the Jazz at the Philharmonic touring ensembles. He continued to play with noted musicians through the 1950s, including Eldridge and Allen again, as well as Buck Clayton, Edmond Hall, Sol Yaged, and Charlie Shavers.

Kersey retired from music late in the 1950s after being diagnosed with a bone ailment. He recorded twelve tunes as a bandleader - four for Savoy Records in 1946, two for Clef Records in 1949, two for Circle Records in 1950, and four for Foxy Records in 1951 which featured Hot Lips Page and Paul Quinichette as sidemen.

                 

12/29/40 NYC., Cafe Society - WNEW Bundles for Britain program - HENRY ALLEN & HIS ORCH.: Red Allen (t) J.C.Higginbotham (tb) Ed Hall (cl) Ken Kersey (p) Billy Taylor (b) Jim Hoskins (d) (without any announcement on non commercial RA-CD-10)
2:38 K. K. BOOGIE 
2/24/41 NYC, NBC´s "Chamber Music Society Of Lower Basin Street"- HENRY "RED" ALLEN & HIS FORTISSIMO FOUR: Henry Red Allen (t,v) J.C.Higginbotham(tb) Ed Hall (cl) Ken Kersey (p) Billy Taylor (b) Jim Hoskins (d) audio-disc-rec WC0L-2-24-41 Basin St.
0:41 ann. the band by Henry Levine RA-CD-10
3:05 K. K. BOOGIE Jazz Arch-40/RA-CD-10
2:05 BLUES HOP = A SHERIDAN SQUARE Meritt-26/RA-CD-10



                   


2/24/41 NYC, NBC´s "Chamber Music Society Of Lower Basin Street"- HENRY "RED" ALLEN & HIS FORTISSIMO FOUR: Henry Red Allen (t,v) J.C.Higginbotham(tb) Ed Hall (cl) Ken Kersey (p) Billy Taylor (b) Jim Hoskins (d) audio-disc-rec WC0L-2-24-41 Basin St.
0:41 ann. the band by Henry Levine RA-CD-10
3:05 K. K. BOOGIE Jazz Arch-40/RA-CD-10
2:05 BLUES HOP = A SHERIDAN SQUARE Meritt-26/RA-CD-10
12/29/40 NYC., Cafe Society - WNEW Bundles for Britain program - HENRY ALLEN & HIS ORCH.: Red Allen (t) J.C.Higginbotham (tb) Ed Hall (cl) Ken Kersey (p) Billy Taylor (b) Jim Hoskins (d) 2:38 K. K. BOOGIE 
more details in Red Allen Bio Disco http://www.rainerjazz.de/AllenRed.html


                     


Kersey's Boogie · Oran "Lips" Page · Paul Quinichette · Burney Peacock · Tyree Glenn · Danny Barker · Ken Kersey · Dan Burley · Walter Page · Sonny Greer

Jammin' at Rudi's

℗ 1996 Jazzology

viernes, 13 de noviembre de 2015

STEVE BIG MAN CLAYTON


Steve Clayton nació en Birmingham, Inglaterra, el 1 de septiembre 1962.
Empezó a interesarse por la música a la edad de 10 años 
No paró hasta conseguir que sus  padres le compraron un viejo piano vertical, una vez conseguido se puso  rápidamente estudiar durante unos cuantos años. 
Hacia el final de sus clases de música, su profesor , aficionado al  blues le mostró la forma según  la cual podía aprender a tocar este género  ,  en principio resultó algo chocante para al muchacho , acostumbrado a tocar los clásicos,  peró en seguida  aprendió  los diferentes tonos y ritmos a pesar de que eran totalmente nuevos para él .
Este nuevo aprendizaje tuvo un enorme efecto en él y automáticamente se desprende de sus ahorros para comprarse los discos de los clásicos del género como Cow Cow Davenport, Albert Ammons y Memphis Slim, por nombrar sólo unos pocos.Se dedicó con pasión a practicar los sonidos que extraían de sus pianos tales personajes , dándose cuenta de que aquello que oía iba a formar parte de su vida a partir de entonces. 
Steve ha visitado en varias ocasiones nuestro país, una de ellas la podéis ver reflejada en un video que os ofrecemos de la Societat de Blues de Barcelona durante su participación en el Ciclo de Blues & Boogie de 2009 celebrado en L´Hospitalet de Llobregat ( Bcn) 

                                   


                                                     
                

Video / Movie Clip recorded live at a concert in Birmingham, November 2014.

Went to see Steve Big Man Clayton at a Sunday Evening Pub Concert. As usual, some fantastic playing on a nice old {and slightly out of tune, lol} 'honky tonk' upright piano.

Steve is one of the nicest guys in Boogie Piano and is always very generous with his time for 'up and coming' amateur pianists like myself ... so I hope he'll forgive me for posting this Movie Clip up as I wass thrilled when he asked me to play - first solo with his drummer Howard Smith and then doing a Piano Duet. 

                             

Data de càrrega: 26 abr. 2009
Boogie Woogie Jubilee 2008
Centre Cultural Barradas L'Hospitalet.






lunes, 9 de noviembre de 2015

GOREE CARTER




                                      

                                       

Coral Records 1951 B/W Please Say You're Mine

More info of this artist in SENTIR EL BLUES  

ALVIN LEE


   Todos conocemos a ALVIN LEE , el que fuera leader de TEN YEARS AFTER, uno de los grupos de culto de los años 60's-70's. De su carrera en solitario nos dejó este album entrañable grabado en el año 2004 en Tennesse donde en cierto modo Alvin regresa a sus orígenes en el más puro estilo R' n ' R. Una delicia ! 


Although technically he never left, Alvin Lee is back. Recorded in 2003 at original Elvis guitarist Scotty Moore's Nashville home studio, with Moore as the mastermind behind the sessions (although due to ear problems he only plays on two tracks), along with Presley's drummer D.J. Fontana on the skins, this would be a listenable effort regardless of who was singing. With ex-Ten Years After's Alvin Lee playing guitar and taking the lead vocals it's a powerfully compelling disc that approximates many of the Sun label greats. Recorded predominantly live in the studio and sounding it, these songs -- mostly originals written expressly for the sessions and an unexpectedly rip-snorting run through of the TYA chestnut "I'm Going Home" -- find Lee at his most enthusiastic. He's clearly having a blast returning to his roots with some of the original architects of the sound backing him up, and that energy jumps out of the grooves. The songs aren't particularly memorable ("I'm Gonna Make It" is little more than a rewrite of "Great Balls of Fire," "How Do You Do It" sounds like any number of Chuck Berry tunes) but Lee is singing harder and riffing with more fire than he has in years. With blistering support from a band that can play this stuff in their sleep, Lee is in full flight. Of particular note is Pete Pritchard's rollicking double bass and Willie Rainsford's jaunty piano, both of whom are veterans who add extra fuel to the proceedings. Things slow down for the bluesy country of "Getting Nowhere Fast," an acoustic based piece that gives the group a chance to show their chops in a less frenzied setting. The audio and production is clean and crisp, with each instrument sounding warm and defined. It meets contemporary standards but retains the retro feel of Sun studios, a tricky balancing act pulled off with class and style. The album is highly recommended for all rockabilly fans and even those who felt the guitarist's work with Ten Years After or solo was too flashy and pretentious. This is a terrific return to form, arguably Lee's best and certainly most passionate solo album ever, as well as a sizzling performance throughout. Crank it up and get gone.



              


                                                             
              



                                                             
               


                                                             
              








domingo, 8 de noviembre de 2015

CARL SONNY LEYLAND



Carl Sonny Leyland was born & raised on the South Coast of England, growing up close to the city of Southampton.
As a child he was drawn to the American music which he heard on LP records his father would play. It was here that he developed an appreciation for Dixieland jazz, the rock & roll of the 1950s & the country music of Jimmie Rodgers & Hank Williams.

At age 15 Leyland discovered boogie woogie when he heard a school friend working through a written arrangement of a tune called JD's Boogie Woogie (Marvin Wright). Captivated by the sound of the repeating 8 to the bar left hand pattern, Leyland was inspired to go to the piano & begin on a path that would become his life's purpose. Within 3 months he would be performing in public & shortly after would become a member of a respected local group "The Bob Pearce Blues Band."

Initially influenced by boogie woogie greats Albert Ammons, Pete Johnson & Meade 'Lux' Lewis, Leyland went on to fully explore the piano blues genre, becoming an authority on early & obscure styles such as those played by Cow Cow Davenport, Little Brother Montgomery, Montana Taylor & Speckled Red to name a few.

In 1988 Leyland had the opportunity to come to the USA. This initial visit to New Orleans inspired him to relocate to that city where he would spend the next nine years. During that time he was active on the club scene, quickly gaining a reputation for his authentic blues & early rock & roll stylings. Also, he toured with the Dallas based band Anson Funderburgh & the Rockets whose line up included blues great Sam Myers.

In 1997, feeling the need for a change, Leyland relocated to Southern California. He joined Big Sandy & His Flyrite Boys, the well known rockabilly & western swing group & toured with them for over three years.

By this time his repertoire had expanded to include ragtime & early jazz styles which enabled him to become part of the traditional jazz scene around Los Angeles & San Diego. In June of 2003 the Carl Sonny Leyland Trio was formed with drummer Hal Smith & bassist Marty Eggers. There was such a natural synergy between the three musicians that a recording of their first performance was good enough to issue on a cd (Broadway Boogie - now out of print)  Their versatile combination has proven successful over the years. They have recorded seven cds to date (including a collaboration with Nathan James & Ben Hernandez) & continue to work steadily on the festival scene. (Jeff Hamilton replaced Hal Smith as drummer).

Leyland has also continued his involvement with the rockabilly scene & plays each year in the backing band at Viva Las Vegas & more recently at the Rockabilly Rave USA. In this capacity he has worked with such notables as Janis Martin, Ruth Brown, Billy Lee Riley & Carl Mann. (See 'Career History' page for a complete list of artists).

Whether playing solo or with his trio, Leyland's playing displays an infectious spontaneity, providing plenty of surprises for the listener.  While he possesses the necessary vocabulary to pay tribute to the greats of old, he refuses to be limit himself to this & prefers to let each performance be an opportunity to say something new.

                       
               


                                                                                                   
                                 




Stephanie had the chance to play with great boogie woogie pianist, Carl Sonny Leyland, at the 35th edition of the San Diego Jazz Fest. This video was recorded on November 30, 2013.







sábado, 7 de noviembre de 2015

MATTEW BALL a.k.a BOOGIE WOOGIE KID


MATTEW BALLes conocido también " Boogie Woogie Kid es "un pianista de blues y de Boogiw woogie de Michigan  Con un historial de rendimiento que incluye desde las apariencias sinfónicas hasta los  festivales de blues, este joven ya está a la cabeza de una carrera desempeñada envidiablemente.

Sus inicios en estudio clásico, Ball  abandonó esa devoción después de asistir a un festival en su ciudad ciudad natal de boogie-woogie. En sólo cuatro años, ya estaba compartiendo el escenario con figuras legendarias del Boogie-Woogie 

Mattew  Ball se ha convertido rápidamente en uno de los mejores de los mas considerados bluesmen  de Detroit y pianistas boogie-woogie.Un  discípulo del legendario Bob Seeley - 

Como decíamos antes la ormación clásica de  Mattew  le  convirtió en un consumado pianista muy  pronto en su  vida. Debutó en sus primeras apariciones sinfónicas antes de los 21 años, y antes del final de su estudio de pregrado había sido bien acogida en el extranjero para las actuaciones en Alemania. Después de completar una licenciatura doble en Música e Historia, y recibir el codiciado premio 'Ma TilDa', dejó la Universidad de Oakland, y la música, para seguir una licenciatura en derecho en la Universidad de Detroit. En 1998 él era un abogado con licencia de Michigan.

                                                                                     
                                

                                                                                       
                                 

                                                                                       
               


                                                                                         
                 

Described today as “One of Michigan’s premier blues & boogie-woogie pianists!” by The Holland Sentinel, Matthew Ball is a graduate of Oakland University (OU) and The University of Detroit School of Law. He holds a Bachelor of Arts with Honors in both Music and History, as well as a Juries Doctorate in Law. He trained classically at Oakland University with the internationally renowned classical pianist Flavio Varani, a graduate of The Paris Conservatory and Manhattan School of Music.

Matthew’s first public performances as a pianist were his appearances with the Pontiac-Oakland Symphony in 1992 & 1993 as winner of their annual young artist competition. In 1994, he performed as OU’s representative artist in a concert tour hosted by The Steinway Society, as well as in a chamber ensemble at The International Chamber Music Academy of Abu, Germany. Matthew is a Maida award winner and a Stanley Hollingsworth Scholarship recipient.

In 2001, Matthew attended a Motor City Boogie-Woogie Festival that would re-shape his life. Awestruck by the performances he saw, Matthew left his short career as an attorney to become a blues and boogie-woogie performing artist. To get there, he would seek out the help of Detroit’s ambassador of boogie-woogie, 83 year old Bob Seeley. A living link to the genre’s pioneer artists, Seeley took some convincing to accept Matthew as his student.

By 2005, Matthew was welcomed to perform at the 11th annual Cincinnati Blues Festival, where he headlined with some of the same performers who were his inspiration. Since then, Matthew has maintained an active performing career as ‘The Boogie Woogie Kid,’ with notable appearances at The Sky Hempy Keyboard Performance Series, The Jazz’n on Jefferson Festival, The Woodward Dream Cruise, Borders Books & Music Showcase, and The Milliken Auditorium of Northwestern Michigan University. He has performed two televised concerts for Oak Park Public Television and Clawson TV, has been featured on ‘WDRQ Detroit Underground’ as well as ‘WFYI The Blues House Party,’ and has presented educational clinics.

Called “The gen-X arrival to this uniquely American art-form,” by The Ann Arbor News, Matthew is helping to define a new generation’s contribution to this treasured American tradition. You can find Matthew on YouTube and at www.boogiewoogiekid.com. The Thumb Music Makers are proud to host this amazing talent.

The Thumb Music Makers group consists of Mary Barnes, Mary Cupery, Patty Finan, Dean Smith and Wendy Zick. The mission of the group is to enhance and broaden the community’s awareness and appreciation of our musical heritage by presenting a variety of musical events and activities. Meetings are held as needed.





viernes, 6 de noviembre de 2015

BIG JOE TURNER I Don't Dig It


    La primera vez que apareció el tema I DON'T DIG IT , fué en la versión single de 1949 , después ha venido figurando en muchas de las compilaciones de BIG JOE TURNER,una de ellas con la portada que os ofrecemos. Destacamos al pianista Lorenzo Flennoy , a pesar de la grabación , que no destaca por su calidad, merece la pena oir el dinamismo que imprime Flennoy en este Boogie. 

                                                                                             
                


                        
                 


A1 Goin' To Chicago Blues
Accompanied By – Freddie Slack Trio*
Bass – Geo M. "Jud" De Naut*
Guitar – Al Hendrickson
Piano – Freddie Slack
Written-By – Count Basie, James Rushing*
2:58
A2 I Can't Give You Anything But Love
Accompanied By – Joe Sullivan And His Cafe Society Orchestra*
Bass – Henry Tucker (2)
Clarinet – Edmond Hall
Clarinet, Tenor Saxophone – Danny Polo
Drums – Johnny Wells
Guitar – Freddie Green
Piano – Joe Sullivan
Trombone – Benny Morton
Trumpet – Ed Anderson
Written-By – Fields - McHugh*
3:13
A3 Blues In The Night (My Mama Done Tol' Me)
Piano, Guitar, Bass, Backing Vocals – Unknown Artist
Written-By – Harold Arlen - Johnny Mercer*
2:25
A4 Rocks In My Bed
Accompanied By – Freddie Slack Trio*
Bass – Geo M. "Jud" De Naut*
Guitar – Al Hendrickson
Piano – Freddie Slack
Written-By – Duke Ellington
3:10
A5 Sun Risin' Blues
Accompanied By – Freddie Slack Trio*
Bass – Geo M. "Jud" De Naut*
Guitar – Al Hendrickson
Piano – Freddie Slack
Written-By – Joe Turner*
2:45
A6 Mardi Gras Boogie
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Guitar [?] – Herman Mitchell
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet [Either Poss.] – Vernon "Jake" Porter*
Trumpet [Or Poss.] – Calvin Boze
Written-By – Joe Turner*
2:34
A7 Cry Baby Blues
Piano, Guitar, Bass – Unknown Artist
Written-By – Joe Turner*
2:52
A8 Rainy Weather Blues
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Guitar [?] – Herman Mitchell
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet [Either Poss.] – Vernon "Jake" Porter*
Trumpet [Or Poss.] – Calvin Boze
Written-By – Joe Turner*
2:28
B1 I Don't Dig It
Accompanied By – Flennoy Trio*
Bass, Backing Vocals – Winston Williams (3)
Guitar, Backing Vocals – Lucky Enois*
Piano, Backing Vocals – Lorenzo Flennoy
Written-By – Joe Turner*
2:14
B2 Boogie Woogie Baby
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet [Either Poss.] – Vernon "Jake" Porter*
Trumpet [Or Poss.] – Calvin Boze
Written-By – Williams*, Tate*
2:43
B3 My Heart Belongs To You
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Guitar [?] – Herman Mitchell
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet [Either Poss.] – Vernon "Jake" Porter*
Trumpet [Or Poss.] – Calvin Boze
Written-By – Arbee Stidham
2:36
B4 Born To Gamble
Accompanied By – Dootsie Williams Orchestra
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet, Arranged By – Dootsie Williams
Written-By – Williams*, Batiste*, Stansel*
2:54
B5 I Love Ya, I Love Ya
Accompanied By – Dootsie Williams Orchestra
Alto Saxophone – Kirkland Bradford
Baritone Saxophone, Alto Saxophone – Jewell Grant
Bass – Chuck Hamilton
Drums – Jessie Sailes
Piano – Pete Johnson
Tenor Saxophone – Maxwell Davis
Trumpet, Arranged By – Dootsie Williams
Written-By – Turner*, Williams*
2:34
B6 Ooo-Ouch-Stop
Accompanied By – Flennoy Trio*
Bass – Winston Williams (3)
Guitar – Lucky Enois*
Piano – Lorenzo Flennoy
Written-By – Joe Turner*
2:33
B7 Wish I Had A Dollar
Accompanied By – Joe Houston's Orchestra*
Bass – J.P. Mosely
Drums [Either] – Allison Tucker
Drums [Or] – James Byrd (2)
Piano – James Hurdle (2)
Tenor Saxophone – Joe Houston, Sam Williams (15)
Trombone – Unknown Artist
Trumpet [Either Poss.] – Nelson Pitts
Trumpet [Or Poss.] – Russell "Fats" Emory
Written-By – Turner*
2:43
B8 Fuzzy Wuzzy Honey
Accompanied By – Joe Houston's Orchestra*
Bass – J.P. Mosely
Drums [Either] – Allison Tucker
Drums [Or] – James Byrd (2)
Piano – James Hurdle (2)
Tenor Saxophone – Joe Houston, Sam Williams (15)
Trombone – Unknown Artist
Trumpet [Either Poss.] – Nelson Pitts
Trumpet [Or Poss.] – Russell "Fats" Emory
Written-By – Turner*
2:34
Compañías, etc.
Mastered At – EMI Studios, Stockholm
Pressed By – Toolex Alpha
Créditos
Mastered By – Gunnar Lööf
Producer – Jonas Bernholm
Sleeve, Design – Lasse Ermalm
Vocals – Big Joe Turner
Notas
Gatefold sleeve 

Otra de las compilaciones en las cuales figura el tema de referencia es SHOUT, RATTLE AND ROLL , con una presentación muy cuidada nos brinda la oportunidad de disfrutar de 4 Cd.s, en un cofre,  con un libreto extraordinariamente documentado. 

NICOLA TENINI


Nacido en 1996 en Locarno. Suiza. 
 A los ocho años sus padres le regalan un digital y comienza a tomar clases de piano privadas.

En la última página del libro de la música que estaba aprendiendo había un boogie, 
Este era el tipo de música que más le gustaba y decidió presentarlo a su primer plan de ensayo de 4 de mayo de 2005.
Algún tiempo después, su profesor en la escuela primaria  de música, le hizo escuchar un CD de Boogie Woogie del embajador suizo, Silvan Zingg.
Esto ha fortalecido enormemente su interés por este género de la música.
En diciembre de 2007 tuvo el placer de conocer personalmente a Silvan Zingg en su concierto de Navidad.

                                                       


                                                                                                         


                               



MY FIRST ALBUM OUT NOW !!!




Enjoy!

Boogie Woogie forever!

Nicola Tenini's official website: http://www.nicola.tenini.com

Thanks for watching.

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                                                    NICOLA TENINI IN YOU TUBE  ! 














jueves, 5 de noviembre de 2015

PAT FLOWERS


Ivelee Patrick Flores , conocido artísticamente como PAT FLOWERS, aprendió piano clásico, pero pronto mostró interés por la música de jazz, más específicamente en el estilo stride piano de Fats Waller. Nunca perdió la oportunidad de escuchar a su ídolo, y rápidamente construyó una técnica pianística fuerte afianzándose con una  muy buena reputación entre los  pianistas de stride Tras la muerte de Fats Waller, se decidió a formar su propia orquesta como  líder con el nombre de "Pat Flores & his Rhythm " consiguiendo dejar una impronta importante dentro del estilo que tanto le gustó 

                                   

                                     

                              
                      

                                              


Ivelee Patrick "Pat" Flowers (October 16, 1917, Detroit – October 6, 2000, Detroit) was an American jazz pianist and singer.
Flowers started his professional career as the pianist during intermissions at Uncle Tom's Cabin in Detroit when he was 18 years old. He moved to New York City in 1939, where he played private engagements and hotel lobbies; he worked in Philadelphia and then New York again, and recorded for the first time in 1941. After returning to Detroit, Flowers took up a residency at Baker's Keyboard Lounge, where he played intermittently into the middle of the 1950s.

From 1943 to 1948 Flowers was based out of New York again, where he initially collaborated frequently with Fats Waller at the Greenwich Village Inn. After Waller's death, Waller's manager Ed Kirkeby drafted Flowers as a possible successor for Waller, booking him for extended residencies at the Ruban Bleu and Cafe Society as well as radio appearances and recordings. In 1945 he made three films, Scotch Boogie, Dixie Rhythm, and Coalmine Boogie.

Following his return to Detroit, Flowers became a mainstay of the local jazz scene. He had a residency at Farmington, Michigan's Danish Inn from 1974 to 1983. He toured Europe with a Fats Waller tribute show in 1975. At the end of his life he worked at the Grosse Pointe Country Club in Detroit.

Flowers's early recordings were collected as I Ain't Got Nobody, released on Black & Blue Records in 1972.

AlCaseyHermanAutreyArthurTrappierGe.jpg


The photo I posted seems to have disappeared from the thread, so here it is again. It shows Al Casey, Herman Autrey, Arthur Trappier, Gene Sedric, Cedric Wallace, and Pat Flowers saluting Fats Waller at WNEW's "Second Annual American Swing Festival," 1945: