jueves, 31 de diciembre de 2015

JOACHIM PALDEN





Hay muy pocos pianistas de Europa, con un exquisito estilo de Blues y Boogie Woogie como el que atesora JOACHIM PALDEN nacido en Viena.

Creció escuchando el blues y el disco de jazz colección de su padre artistas como Albert Ammons y Pete Johnson. En  1972 el club de  Viena "Jazziand" en donde durante mucho tiempo estuvo abierto un club importante de una Europa que tenía oportunidad de escuchar a muchos pianistas de la época como fueron ,  Champion Jack Dupree, Roosevelt Sykes, Little Brother Montgomery, Memphis Slim , etc. 

Con 17 años ganó el primer premio en una gran competición Donin Boogie Woogie una Zurich, 
En este tiempo ( 1976 )  fundó con Erik Trauner la Mojo Blues Band plasmaba así su  amor por el Blues de Chicago sobre todo el pianista de la banda de Muddy Waters, Otis Spann,  fué cuando conoció a la cantante DANA GILLESPIE 

Ha participado en giras con el espectáculo "Estrellas del Boogie Woogie", actuaciones de artistas invitados a lo largo de Europa, muy a menudo un Israel, y un sinnúmero de conciertos con Vince Weber, Axel Zwingenberger, Oscar Klein y con el saxofonista Donin Big Jay McNeely, Xarxa Holloway y Jim Galloway.

Con  Dana Gillespie Desde 1989 ha estado trabajando regularmente  con sus actuaciones en el mundo, por ejemplo, dos grandes viajes de la India, y hace grabaciones de un Chicago y Londres, también con músicos como Magic Slim, John Primer, Eddie Shaw y Michael Coleman. Con Dana creó en 1992 un CD en vivo en Jazzland de Viena, "Boogie Woogie Night 's" 1994 "Big Boy", producido por Mike Vernon, uno de los principales productores en inglés. 

                     

                                                                                                   


                                                                                                     



martes, 22 de diciembre de 2015

TRAVELLIN' BROTHERS BIG BAND // SWING & JIVE

travellin brothers concierto gratis bilbao




                                                     
              
              travellinbrothers.com/

CAPTURED LIVE IN LEIOA ON JUNE 2012


Jon Kareaga -- Lead Vocals
Aitor Cañibano -- Guitar & Vocals
Eneko Cañibano -- Bass & Double Bass
Ander Unzaga -- Piano & Electric Piano
Isi Redondo -- Drums
Alain Sancho -- Alto Sax

Itziar Castrillo -- Alto Sax
Julen Izarra -- Tenor Sax
Alfontso Vila -- Baritone Sax
Javi Pérez -- Trumpet
Alfonso Masach -- Trumpet
Carlos Escudero -- Trombone
Juanan Díez -- Trombone
Juan Carlos Ribelles -- Tuba

Estibaliz Ruiz -- Violin & Vocals
Izar Herran -- Acoustic Guitar & Vocals

lunes, 21 de diciembre de 2015

DOROTHY DANDRIDGE



           


According to Bennie Jackson in IMDb:
Dorothy Jean Dandridge was born in Cleveland, Ohio on November 9, 1922. Under the prodding of her mother, Dorothy and her sister, Vivian Dandridge, began performing publicly, usually in black Baptist churches throughout the country. Her mother, Ruby Dandridge, an entertainer herself, would often join her daughters on stage. As the depression worsened, Dorothy and her family picked up and moved to Los Angeles where they had hopes of finding better work, perhaps in film. Her first film was in the Marx Brothers comedy, A Day at the Races (1937). It was only a bit part but Dorothy had hopes that it would blossom into something better. But because she was a black woman in a very prejudiced society, she didn't land the roles that were readily available to her white counterparts. She did not appear in another film until 1940 in Four Shall Die (1940). The role was nothing great other than to establish the fact that she was very beautiful and talented. Her next few roles in the early forties included films such as Bahama Passage (1941), Drums of the Congo (1942) and Hit Parade of 1943 (1943). There were others in between, of course, but they were the usual black stereotypical films for women such as Dorothy. Not only was she a talented actress but she could also sing which was evident in films such as Atlantic City (1944) and Pillow to Post (1945). This helped to showcase her talents as a singer and brought her headline acts in the nation's finest hotel nightclubs in New York, Miami, Chicago and Las Vegas. She may have been allowed to sing in these fine hotels but, because of racism, she couldn't stay there. It was reported that one hotel drained its swimming pool to keep her from enjoying that little amenity. In 1954, Dorothy appeared in the all-black production of Carmen Jones (1954) in the title role. She was so superb in that picture that she garnered an Academy Award nomination but lost out to Grace Kelly in The Country Girl (1954). Despite the nomination for her performance, Dorothy did not get another movie until she appeared in Tamango (1958), which was an Italian film. She was to make six more motion pictures, of which Island in the Sun (1957) and Porgy and Bess (1959) were worthy of mention. Once again, she was a standout. The last movie she would ever play would be in 1961's The Murder Men (1961). Dorothy faded quickly after that with a poor second marriage to Jack Denison (her first was to Harold Nicholas), poor investments, other financial woes, and a problem with alcohol. She was found dead in her West Hollywood apartment on September 8, 1965, the victim of a barbiturate poisoning. She was only 42. Had she been born 20 years later, Dorothy Dandridge would no doubt be one of the most well-known actresses in film history.


                   





domingo, 20 de diciembre de 2015

DAN POPEK




DAN POPEK, nacido el 23 de marzo de 1996 en Bad Friedrichshall, se encontró  desde el principio con el piano , a  los cuatro años comenzó a experimentar en las teclas del instrumento y fué asociando la música con historias emocionantes. Por lo visto lo lleva en sus genes ya que toda su familia está compuesta por músicos y profesores. De hecho recibió clases de sus propios padres  de piano clásico desde la edad de seis años. s
Su encuentro con el Boogie-woogie: A la edad de doce años representa  un nuevo mundo para él y descubre que es la música que le fascina . Su padre Martin Popek, con quien a menudo toca a dos pianos, lo inspiró con un CD de Axel Zwingenberger, que entusiasmo a  Dan.
Pronto empezó dar conciertos en solitario y compartiendo escenario con grandes pianistas del género. 
Una gran experiencia para Dan fué la actuación con el pianista estrella Hamburgo Joja Wendt, que tiene mucho que agradecerle.
El 08/08/2012 Dan tenía 16 años la primera vez con gran éxito para acoger el prestigioso y más grande Boogie Festival Woogie "La conexión de Hamburgo Boogie Woogie" internacional en la legendaria fábrica de Hamburgo y se encuentra junto a Axel Zwingenberger, Vince Weber, Gottfried Böttger y Jo Bohnsack ocurrido.

Actualmente presenta un programa sugerente y original emocionante con música clásica, jazz y de música del mundo, que tiene en muchos lugares causados ​​por el público con gran entusiasmo. Esto no quiere revelar lo suficiente: Dan Popek tiene música de piano de clase alta son en su tarjeta de visita. Rachmaninoff, Stevie Wonder, Henry Mancini - en realidad completamente no importa qué material canción Dan Popek doblaron bajo los dedos. Siempre está marcada por la explosividad técnica y alto valor de entretenimiento.

             

Dan Popek (19) performs "Meade's Boogie" by Meade "Lux" Lewis in his own version live at 4. Int. Boogie Woogie Festival Burgdorf 2015
► Website: http://www.danpopek.de
► Facebook: http://www.facebook.com/danpopek88
► iTunes: https://itunes.apple.com/de/artist/da...



               



                



             









sábado, 19 de diciembre de 2015

HANNES OTAHAL

Hannes Otahal


Leemos en su FACEBOOK 
Hannes Otahal se situó en una edad temprana, incluso antes de sus estudios de piano clásico,
en escenarios nacionales e internacionales de jazz.
Su atención se centró siempre en la interpretación auténtica de los grandes clásicos del Boogie Woogie 
Además de sus conciertos en solitario que realizó con el "Mojo Blues Band" a las "Estrellas de Boogie Woogie Gala" en el Gran Palacio de la Konzerthaus de Viena.
Ha efectuado  numerosas giras con Axel Zwingenberger y el pianista de jazz estadounidense Ray Bryant.
Acompañó a  estrellas como
Wanda Jackson, Linda Gail Lewis, Tommy Cash, Cometas de Bill Haley, Narvel fieltros, Charlie McCoy, Norma Jean, Stonewall Jackson y Billy Jo Spears, y él tenía la parte de piano a cabo en grupos de renombre internacional como " New West "," Route  66 "o Legendary Daltons
Cada vez más promueve y enseña a jóvenes músicos de la escena del boogie-woogie. ......


                
                 

                               

Live-Performance of an Ammons Original, played by the Austrian Boogie-Master Hannes Otahal, recorded live at "Boesendorfer" in Vienna on 1997-04-04

              

Original Piano Boogie played by the Austrian Boogie Master Hannes Otahal
Recorded in Vienna at www.dieklaviermachermeister.at 2014-02-12
Order Hannes Otahal´s brandnew release BOOGIE WOOGIE WALKER as well as his Boogie Woogie Piano sheet music online at: http://shop.gustfuss.com


Hannes Otahal was born on August 18, 1960 in Klosterneuburg, Lower Austria where he currently lives. He became interested in boogie-woogie in 1975 after hearing VINCE WEBER's first record and started teaching himself to play the piano in the same year. His attempts to play Vince Weber tunes by ear with absolutely no knowledge of technique surprised everybody. Just two years later, at age 17, he gave his first performance in Vienna's Jazzland, together with MARTIN PYRKER and JOACHIM PALDEN, amazing his audience by playing the classic pieces of Albert Ammons, Pete Johnson, and Meade Lux Lewis with complete ease.

Although he has undoubtedly been one of the world's top boogie-woogie piano players for over two decades, he never limited himself to just one particular style. Having finished school, he studied classical piano and graduated in 1987 as a fully qualified concert pianist. For his classical performances he preferred the works of BEETHOVEN, CHOPIN and LISZT. On the side he developed a solid feel for jazz piano, as well as gospel, blues, Ragtime and stride. In 1986 CARL KAYE, who recruited him for his newly founded western swing band "ROUTE 66", introduced him to the country music scene. Since then Hannes Otahal has become the most sought after country pianist in Austria.

In 1996 he joined the "MOJO BLUES BAND" and toured Europe with them for one and a half years. During this period he also appeared as one of the "Stars of Boogie-Woogie" in Vienna's "Konzerthaus", played solo concerts in Vienna's "Bösendorfer-Saal", appeared with VINCE WEBER at the Jazz-Festival in Sargans (Switzerland), and jammed night after night with AXEL ZWINGENBERGER and the great jazz pianist RAY BRYANT during a tour that took them across Europe for several weeks. 

Although you won't hear him play boogie-woogie that often in public any more, he is still a "key player" who has been working quite successfully in the background. Hannes is also largely responsible for the high standards in the Austrian boogie-woogie scene today, because almost all of the younger generation of boogie-woogie pianists in this country have been his students. 

As he withdrew from the soloist scene, the numerous well known bands he was appearing with were given more and more priority. The first to mention is the "Mojo Blues Band". He can be heard on their CD "20 Years In The Blues Jungle", as well as on the first 3 CDs of "Girly And The Blue Caps", one of the best 50s formations in Austria, or on all 10 CDs of the well known Country Band "Route 66" to name just a few. For many years he was a member of "New West", a 3-time winner of Austria's "County Band Of The Year" award, and he can be heard on their first CD "Simply The West" which was voted CD of the Year 2005 by the Austrian Country Music Federation. He accompanies American guest stars as a member of the "Phantoms Of The Opry", which produces live CDs year after year and held the title of "County Band Of The Year" in 2000.

In addition to his regular Bands, he sat in with the "Legendary Daltons", Manfried Chromy's "Texas Schrammeln" and the "Arizona Eagles" in 2004. 

Blues, Country, Western-Swing, Jazz, Gospel, Stride, and Salsa... all played with complete authenticity! Still, the roots of this multitalented pianist lie unmistakably in classic boogie-woogie. It's the music he taught himself to play long before he began his education as a classical pianist. That explains the ease with which he interprets a musical style that is usually only authentically reproduced by absolute specialists. 

Today his playing is not only expressive and creative, but also enhanced with just the right amount of humor. Not only that, he plays the most difficult works of classic Boogie pianists with a stylistic authenticity and the virtuosity he acquired through his study of classical piano literature


             








martes, 15 de diciembre de 2015

LUCKY MILLINDER & HIS ORCHESTRA


Lucky Millinder (1900-1966) no sabía tocar ningún instrumento musical, pero tuvo la habilidad de dirigir una banda de jazz que señaló el punto de partida para muchos de los instrumentistas que pasaron por su formación. Millinder, pasó su infancia en Chicago y es allí donde consta que inició su carrera profesional en los cabarets del barrio de South Side, bailando y actuando como maestro de ceremonias.

Su primera banda la formó en 1930 y apenas tres años mas tarde ya viajó con ella a Europa, y mas en concreto en Francia. Al regresar a los Estados Unidos, se instaló en New York, y allí se hizo cargo de la dirección de la "Mills NBlue Rhytrhm Band" en 1934. Muy querido y popular entre sus músicos, Millinder incorporó a la misma a talentos en ciernes por aquella época y que luego fueron grandes maestros del jazz como: Harry "Sweet" Edison, Henry "Red" Allen; Charlie Shavers; Buster Bailey y el mismísimo, John Kirby, quien formaría más adelante su propia orquesta.

En 1939 decidió dejar esa formación y crear su propia bigband en la que tocaron: Dizzy Gillespie -por entonces un joven trompetista con talento pero sin nombre- Freddie Webster, Eddie "Lockjaw" Davis; Sr. Charles Thompson o la impresionante vocalista de gospel, Rosetta Tharpe. Hasta mediados de los años cuarenta, como casi todas las grandes orquesta, la banda disfrutó de un espectacular éxito llegando a aparecer en varias películas, entre ellas: "Paradise in Harlem" (1939) o "Boarding Room Blues" (1948). Fue precisamente en 1948, cuando Lucky Millinder, decidió dejar la carrera y dedicarse a un cómodo negocio de publicidad.

A comienzos de la década de los cincuenta, con el advenimiento de otras formas de músicas, Millinder, arruinado casi, tuvo que trabajar de pinchadiscos en varios locales en un final de su vida trágico.
Spotify:http://open.spotify.com/album/6vUeuIl...
iTunes: http://itunes.apple.com/es/album/vint...

Síguenos en:
Facebook: http://www.facebook.com/vintagem.es
Spotify: http://open.spotify.com/user/vintagem...
Web: http://www.vintagemusic.es

BoutiqAlia: http://boutiqalia.com/store/vintage/ (compra física de CD)

                                                   
                  

                                   


                             

Ver también info de ANNISTEEN ALLEN vocalista de la orquesta de Lucky Millinder 

http://sentirelblues.blogspot.com.es/2014/10/annisteen-allen.html


Lucius Venable "Lucky" Millinder (August 8, 1910 – September 28, 1966) was an American rhythm and blues and swing bandleader. Although he could not read or write music, did not play an instrument and rarely sang, his showmanship and musical taste made his bands successful. His group was said to have been the greatest big band to play rhythm and blues,and gave a break to a number of influential musicians at the dawn of the rock and roll era. He is a 1986 inductee of the Alabama Jazz Hall of Fame.
Millinder was born in Anniston, Alabama, United States, and was raised in Chicago, Illinois. In the 1920s he worked in clubs, ballrooms, and theatres in Chicago as a master of ceremonies and dancer. He first fronted a band in 1931 for an RKO theater tour, and in 1932 took over leadership of Doc Crawford's orchestra in Harlem, New York City, as well as freelancing elsewhere.
In 1933, he took a band to Europe, playing residencies in Monte Carlo and Paris. He returned to New York to take over leadership of the Mills Blue Rhythm Band, which included Henry "Red" Allen, Charlie Shavers, Harry "Sweets" Edison and J. C. Higginbotham, and which had a regular slot at The Cotton Club. Around this time he also discovered singer and guitarist Rosetta Tharpe, with whom he performed for many years and first recorded with on "Trouble In Mind" in 1941.
With his own orchestra
In 1938 he teamed up with pianist Bill Doggett's group, and by 1940 had formed a completely new orchestra, which included Doggett and drummer "Panama" Francis. He established a residency at New York's Savoy Ballroom, and won a contract with Decca Records. Dizzy Gillespie was the band's trumpeter for a while, and featured on Millinder's first charted hit, "When the Lights Go On Again (All Over the World)", which reached No. 1 on the R&B chart and No. 14 on the pop chart in 1942. The follow-up records "Apollo Jump" and "Sweet Slumber" were also big hits, with vocals by Trevor Bacon.
By the mid-1940s the band was drifting towards what would be known as rhythm and blues. Other band members around this time included saxophonists Bull Moose Jackson, Tab Smith and Eddie "Lockjaw" Davis, and pianist "Sir" Charles Thompson. In 1944 Millinder recruited singer Wynonie Harris, and their recording together of "Who Threw the Whiskey in the Well" became the group's biggest hit in 1945, staying at No. 1 on the R&B chart for eight weeks and also crossing over to reach No. 7 on the US pop chart. After Harris left for a solo career, Millinder followed up with another hit, "Shorty's Got to Go", on which he took lead vocals. Soon afterwards, Ruth Brown became the band's singer for a short period before her own solo career took off.

In the late 1940s the band continued to remain popular and toured around all the large R&B auditoriums, although it had few chart hits for several years. In 1949 the band left Decca Records and joined first RCA Victor and then King Records, recording with singers Big John Greer and Annisteen Allen. The band's last big hit was "I'm Waiting Just for You" with Allen in 1951, which reached No. 2 on the R&B chart and No. 19 pop.

By 1952, Millinder was working as a radio DJ as well as continuing to tour with his band, but his style was beginning to fall out of favor and the band went through many personnel changes. In 1954 he took over the leadership of the house band at the Apollo Theater for a while. He effectively retired from performing around 1955, although his final recordings were in 1960.


He became active in music publishing, and in public relations for a whiskey distillery, before dying from a liver ailment in New York City in September 1966.






lunes, 14 de diciembre de 2015

domingo, 13 de diciembre de 2015

OTIS SPANN


El que fuera fiel escudero de Muddy Waters nos regala un Boogie-Woogie de propia creación , y un video sensacional !! ENJOY IT !!






"The Blues Don't Like Nobody" A fantastic live recording of blues piano legend, Otis Spann. If you want to play just like Otis Spann
CLICK HERE: http://bluespianosheets.com/ for accurate Otis Spann piano sheet music plus lots more advanced professional blues piano sheet music. BLUES PIANO SHEETS the all new channel for all blues piano fans and for everyone who always wanted to play the blues but just couldn't figure out the notes.

"Otis Spann"
"Otis Spann Live"
"Otis Spann The Blues Don't Like Nobody"
"blues piano"
"Chicago blues"
"learn to play blues piano"

Blues Piano Sheets for the best professional blues and boogie woogie piano sheet music on the planet. Plus FREE boogie woogie sheet music.


The Best Live video of Otis Spann - Blues Piano Legend



miércoles, 9 de diciembre de 2015

LIGHTNIN' HOPKINS




 Sam John Hopkins (March 15, 1912 – January 30, 1982), better known as Lightnin’ Hopkins, was an American country blues singer, songwriter, guitarist, and occasional pianist, ( *) from Houston, Texas. Rolling Stone magazine included Hopkins at number 71 on their list of the 100 greatest guitarists of all time.

    ( * )  Listen rare piece Piano Boogie playing at pìano  by Hopkins ! 

                       


                                           
             



                                             
               


Todo buen aficionado conoce al gran LIGHTNIN' HOPKINS, de hecho hemos hablado de él en numerosas ocasiones en SENTIR EL BLUES, el motivo por el cual le traemos hoy aquí es para recordar que Hopkins le gustaba tocar el piano, cosa que hacía esporádicamente y le gustaba el Boogie Woogie en particular, de hecho tiene diferentes temas basados en este estilo musical que forma parte también del Blues. 





domingo, 6 de diciembre de 2015

BUSTER DOSS



 Doss va començar la seva carrera com a actor a l'edat de sis anys. Més tard es va convertir en un membre actiu de la "Old Time Medicine Show", on va començar a aprendre a formar els professionals que van entrenar tals artistes com Gene Autrey, Bob Wills, Xarxa Skelton, Roy Acuff, Bud Abbott i Costello. En 1942, ell va servir al seu país amb orgull, allistar a la Marina dels Estats Units, on ell va produir espectacles per entretenir a les tropes durant la Segona Guerra Mundial. El 1945, va aparèixer en produccions de Hollywood com Bronco Buck Cody i El Cactus Kid. El 1946, va gravar i produir el seu primer disc per a l'arxiu de registres i en 1947 i 1948 gravat per registres talent. El 1948, es va unir a The Louisiana Hayride, juntament amb Hank Williams Sr., Johnny Horton, Kitty Wells, Johnny i Jack, Faron Young, Webb Pierce, Jim Reeves i més tard Elvis Presley. Més tard posseïa fins a set estacions de ràdio i unitat de promoció telefònica més gran de la música country, la promoció d'espectacles Grand Ole Opry. El 1959, va fundar Wizard Records a Waco, Texas i més tard va portar a l'empresa a Nashville on es va convertir en el primer gran segell discogràfic independent al corredor de la Música. Més tard, de propietat i operació d'una estació de ràdio a Missouri i el primer dels set "Frontier Jamboree Music Theatre" i "Codyland Frontier Village". El 1976, va formar el grup "Cooder Browne" i els va signar a Lone Star Records de Willie Nelson i Mercury Records. El grup va arribar a ser teloners de Willie. Col. Doss va ser l'autor de més de 500 gravats, cançons i ha produït milers de registres des de 1948. L'Associació de Música Country d'Amèrica li van votar al Saló de la Fama. El Sud País Associació Gran Música, Fundació País Colorado, circ, mags i ventríloc també ho van honrar per inducció en els seus salons de la fama. Ell ha estat amo i publicat revistes familiars, com ara senyals de fum, CB Notícies i La Guia Turística de Texas i La Gaceta País, que continuen en la producció. El 2005, el coronel Doss va organitzar i va produir "Jamboree On The Mountain" que es va celebrar a Monteagle, TN i el 2006 "Jamboree Per El Llac" que es va celebrar a Winchester, TN. 

                                                           

StarTalent 176 Hillbilly Boogie
Recording for Star Talent was Buster Doss & His Arkansas Playboys. After completing his military service in 1945, Doss headed for Hollywood where he appeared in several western movies under the name of Brunco Buck Cody. He moved to Little Rock, Arkansas the following year when he received an offer to work on KLRA sponsored by Mother`s best four. He would commute to Hollywood when any film offers came up. His band was named after the show`s sponsors, but when doss raised furhter sponsorship, the same band also appeared as the southern Maid Donut Boys. However Doss main sponsor, Mother`s Best Flour, relocated him in Texarkana, Texas in 1948 where he broadcast on KTFS. This move enabled him to join the nearby Lousiana Hayride in Shreveport, and he formed a completely new band called the Arkansas Playboys. It was throught the auspices of his freind Hank WIlliams that Doss got a recording contract with Star Talent in Dallas. On their theme tune, recorded at Jim Beck`s studio in Dallas, Playboy Boogie, pianist Ted Cox really lets rip and demonstrates an acute aptitude for the Boogie. They also cut Graveyard Boogie on the lable. Doss had a considerable following right across from mix-Texas to Arkansas. The boys subsequently worked on radio KELD in El Dorado, in South West Arkansas on Highway 82. Doss often appeared as "The Cactus Kid". In the 60s he ran his own Wizard lable and his nephew Bob Doss recorded Rockabilly on Starday.


                             







RONNIE KOLE

           
El pianista de Chicago RONNIE KOLE va patir una malaltía al cor de molt petit , que va superar grácies al support del centre on va estar recluït, superat aquest entrebanc ha desenvolupat una carrera plena d´exits com a music i pìanista que la dut a tocar amb les millors orquestes del món, simfóniques incluïdes el seus amplísims registres fan de que sigui considerat un dels millors pianistes actuals, aquí el duïem amb aquest meedley de Boogie que malgrat no ser la seva especialitat també demostra un gran domini del génere. sugerim la visita al seu lloc web per conéixer millor la seva personalitat i trajéctoria , un lloc distret i molt complert. 

                                             
                                                     
                




Jazz pianist Ronnie Kole is a class act and consummate performer who is popular in both his own country and overseas. The New Orleans-based musician spends much time abroad in Europe and Asia, where his smooth sound and elegant persona lend themselves to refined venues and guest appearances with symphony orchestras. Kole is a piano man's piano man, admired by many top stars in the business, from Harry Connick Jr. to Allen Toussaint.

Born in Chicago, Kole was afflicted with heart trouble as a child, which landed him in a school for the handicapped. He received much encouragement there from the celebrities who made a point to visit. In return, Kole has become very involved in charitable and civic organizations in his professional career, such as the Easter Seal Society and the American Heart Association. He sits on more boards than there are ivory keys on the piano, and helped organize both the New Orleans Jazz Festival and the French Quarter Festival, and has made numerous appearances at both venues.

A protégé of Al Hirt, Kole began his professional career on television, gaining exposure on the Johnny Carson Show. After a stint in Las Vegas, he followed Hirt to New Orleans. Kole honed his act in Hirt's club on Bourbon Street, before opening his own club, Kole's Korner, which, along with Hirt and Pete Fountain's clubs, became a top venue to hear traditional jazz. The musician has received every conceivable award his adopted city has to offer, from a Lifetime Achievement Award to induction into the Louisiana Music Hall of Fame. He has played for presidents and the Pope, and has performed in cities all over the world.

Kole retains complete artistic control over his own work, recording on his own label, Vintage Kole. Some of his CDs capture the charm of the man and his music, which leans toward the standards of a more civilized era. One is likely to hear the works of Duke Ellington, Cole Porter, and George Gershwin. Good listening choices include Ronnie Kole at Carnegie Hall-Live (1996), Swing Hot Swing Kole (1996), and Kole Alone (1999). The year 2001 was a very busy year for the artist, who put out three CDs: Ronnie Kole Trio in Concert: Live, Music of the Vines, Vol. 2, and Top Ten Big Band Hits.

Kole's CD Music of the Vines, Vol. 2, as well as a previous volume, are cleverly arranged around his appearances at many chateaux throughout the wine country of France, where he is immensely popular. The exquisite settings are a perfect backdrop for a musician who sets the standard for elegance itself, in a way that perhaps no musical artist has done since Duke Ellington last sat down at the piano.

sábado, 5 de diciembre de 2015

BOOGIE WOOGIE in The STREET !


    En la fotografía de Roser Valls , DAVID BOOGIE GIORCELLI  durante su actuación en la edición del Festival de Blues de Cáceres de este año que nos sirve para ilustrar nuestro post de hoy que dedicamos al  Boogie-Woogie en la calle, sea en festivales al aire libre ( como es el caso ) o directamente sin más .Uno de los pioneros en nuestro País por cuanto al tema se refiere fué  el Festival de Jazz de Sant Adriá de Besos de 2008 en donde  el pianista tuvo una destacada actuación. Junto con los videos de dos profesionales como son Giorcelli y Henri Herbert ,  os mostramos una serie de pianistas no tan conocidos quizá como los dos citados ,  que no tienen inconveniente en ponerse a tocar el piano en medio de la calle , sin trampa ni cartón.  Por otra parte sabido es que en distintas ciudades del mundo últimamente se acostumbran a poner pianos en la calle con motivo de la celebración de determinados eventos dedicados mayormente a músicos insignes  , en donde cualquier paseante , capaz de demostrar su talento,  lo puede hacer, aunque en contadas ocasiones aparecen piezas de Boogie Woogie .

                                               
              

VI Festival Blues Cáceres, Corral de las Cigüeñas, 3 octubre 2015 (Filmado por Eugenio Moirón)
Ster Wax (voz), Mingo Balaguer (armónica), David Giorcelli (piano), Carles Domingo (batería)



                               

David Giorcelli Quartet llevando el blues y el boogie a la calle, en la apertura del XXIV Festival de Jazz de Sant Adrià. Lluís Salvador - contrabajo,Reginald Vilardell - Batería, Mariano Gringaus - Saxo Tenor, David Giorcelli - Piano.
Año 2008 


                                             
               

Ritmo, marcha y buen rollo en la Plaza del Obispo de la mano del 
trío catalán Wax & Boogie, con David Giorcelli en el piano,

Reginald Vilardell en la batería y la voz de Ster Wax.

                                

Henri John Pierre Herbert dazzles the crowd at London St Pancras with an impromptu performance on the public piano. 
For more information or to contact Henri go to:
http://www.henriherbertmusic.com 
And for more info about The Jim Jones Revue, please go to:
http://www.jimjonesrevue.com 


This video is being managed exclusively by Newsflare. To use this video for broadcast or in a commercial player go to: http://www.newsflare.com/video/13429/... or email: newsdesk@newsflare.com or call: +44 (0) 8432 895 191



                                                
           


Dr K and Matt (a random passer-by) demonstrate the power of live music to enliven the masses in St Pancras Station London.
2014 Year.

                                           
           

boogie woogie piano in the street place du marcher aix en provence

                                           
          

viernes, 4 de diciembre de 2015

WILL BRADLEY & HIS ORCHESTRA


La Historia del Boogie-Woogie, no només está escrita per grans pianistes, també mestres de diferents instrument com el saxo, trompeta etc es van dedicar a aquest génere, el cas que us presentem es tracta d´un trombonista que es va dedicar juntament amb la seva propia orquesta a la música de ball  on va destacar per la seva afició al Boogie-Woogie. 
Wilbur Schwichtenberg  (12 jul 1912 - 15 jul 1989) era un americà trombonista i director de orquestra, que també toca sota el nom de Bradley. Era conegut per la música de ball dolça, així com boogie woogie cançons, moltes de les quals van ser escrits per Don Raye.
Nascut a Newton, Nova Jersey, Schwichtenberg va ser un dels trombonistes de primer nivell en el Nova York escena swing, i sovint va participar en jam sessions difoses per The Swing Club de CBS Dissabte Nit. En 1939, ell i el baterista Ray McKinley va formar una big band, amb Schwictenberg prenent el nom professional de Bradley. La banda Bradley va arribar a ser ben conegut pel boogie-woogie, particularment el seu disc d'èxit, "Bátame pare, vuit a la barra", amb Freddie Slack al piano.  Aquest registre, juntament amb un altre nombre de boogie woogie big band, "Scrub Em Mama amb un cop Boogie ", i la versió original de l'obra clàssica," Pel camí d'una peça ", estaven tots tres en el top 10 en les llistes de música populars de Billboard al mateix temps, a finals de 1940. "Pel camí d'una peça" va ser gravat amb un trio paret cap avall anomenat "Will Bradley Trio", compost per McKinley, Doc Goldberg, i Freddie Slack, amb vocalista convidat pel compositor Don Raye.
Bradley va ser un dels primers líders de la banda que van aparèixer en Soundies, de tres minuts de pel·lícules musicals fets perquè funcionen amb monedes "màquines de discos de pel·lícules." Pel·lícules de Bradley, realitzades a finals de 1940, es van distribuir àmpliament i van donar la banda Bradley valuosa exposició. El baterista Ray McKinley va fer la major part de les veus.
El 1942 McKinley va ser per a formar la seva pròpia banda i uns mesos després es va unir a la Força Aèria dels Estats Units, on va jugar al Glenn Miller banda de la Força Aèria. Bradley va intentar mantenir la seva banda, però els problemes causats per la guerra va obligar a Bradley a dissoldre. Bradley es va convertir en un músic d'estudi, i va jugar durant molts anys al The Tonight Show Band durant el Johnny Carson era.


                                     


                                     

RARE OLDIES SOUNDIES WITH MR WILL BRADLEY & HIS ORCHESTRA !!! Wilbur Schwictenberg (July 12, 1912 -- July 15, 1989) was an American trombonist and bandleader who also performed under the name Will Bradley. He was known for swing and sweet dance music, as well as boogie woogie songs, many of which were written by Don Raye.
Born in Newton, New Jersey, Schwictenberg was one of the premier trombonists on the New York swing scene, and he often participated in jam sessions broadcast on The CBS Saturday Night Swing Club. In 1939 he and drummer Ray McKinley formed a big band, with Schwictenberg taking the professional name of Will Bradley. The Bradley band became well known for boogie-woogie, particularly its hit record, "Beat Me Daddy, Eight to the Bar" with Freddie Slack on piano. This record, along with another big-band boogie woogie number, "Scrub Me Mama with a Boogie Beat," and the original version of the classic, "Down the Road a Piece", were all three in the top 10 on the Billboard popular music charts at the same time, in late-1940. "Down the Road a Piece" was recorded with a pared-down trio called the "Will Bradley Trio," made up of McKinley, Doc Goldberg, and Freddie Slack, with guest vocals by songwriter Don Raye.
Will Bradley was one of the first bandleaders who appeared in Soundies, three-minute musical films made for coin-operated "movie jukeboxes." Bradley's films, made in late 1940, were widely distributed and gave the Bradley band valuable exposure. Drummer Ray McKinley did most of the vocals.
In 1942 McKinley left to form his own band and a few months after joined the United States Air Force, where he played in the Glenn Miller Air Force band. Bradley tried to maintain his band, but problems caused by the war forced Bradley to disband. Bradley became a studio musician, and played for many years in the The Tonight Show Band during the Johnny Carson era.
You can watch all my rare oldies soundies on : http://www.myspace.com/swingcocktail ! Many thanks , NICKY .


                               


Scrub Me Mama With A Boogie Beat (Raye) by Will Bradley & his Orchestra, vocal by Ray McKinley

The Bradley-McKinley band’s follow-up to their highly successful “Beat Me Daddy (Eight To The Bar)” was this Don Raye reworking of the traditional jig “The Irish Washerwoman.” It climbed to #2 on Billboard.

TIP: Click this link to browse through all 128 videos of the 1940 HITS ARCHIVE collection, alphabetically arranged in the convenient YouTube Playlist format: https://www.youtube.com/playlist?list...

THE 1940 HITS ARCHIVE - here in one place, a good-quality library of best-sellers and songs that made an impact, presented in the original-release versions (no remakes, alternate takes, or “re-processed stereo”)

MusicProf78 Facebook page: https://www.facebook.com/pages/Musicp...

                   


BIG JAY McNEELY

Estamos delante de uno de los más destacados saxofonistas que ha dado la escena del Blues , R&B y R ' n R de un tiempo a esta parte,  Una auténtica " Bestia" escénica, que sepamos hasta hace bien poco seguía en activo con 88 años. Fué  a mediados de los años cincuenta, Big Jay que añadió grupos vocales  a sus actuaciones , comenzando con FOUR DOTS & DASH  que incluyó, en un momento un muchadho , de 16 años de edad, Jesse Belvin, Marvin Phillips (más tarde de Marvin & Johnny fama ), Tony Allen y Mel Williams. De hecho, Belvin hizo sus primeras grabaciones con Big Jay, incluyendo "All That Vino Is Gone". Gran Jay también trabajó extensamente con  Hollywood Flames  The  Pinguins and The Medallons de arriba y abajo de la costa oeste. En 1955 a 56 compartió el escenario conThe Clovers , The  Harptones  etc. (en el Teatro Apolo), Bill Haley  & his Comets , los Moonglows, Little Richard, entre otros.
En 1959 Gran Jay disfrutó de su mayor éxito, una balada de blues llamado "Something on your mind ", con Haywood "Little Sonny" Warner en la voz. El disco se mantuvo en las listas de R & B por seis meses y alcanzó tan alto como 44 pop. La canción fue más tarde un éxito  para Bobby Marchan. Otros artistas que han grabado la canción de Big Jay incluyen BB King, Etta James, Freddy Fender, Las Llamas de Hollywood, Gene Vincent, Albert King y Profesor Longhair ..... como véis un background apabullante . Pòdéis ver toda la info en su web-site. 

-----------------------------------------------------------------------------

Cecil James McNeely (born April 29, 1927, Watts, Los Angeles, California), known as Big Jay McNeely, is an American rhythm and blues saxophonist.
Inspired by Illinois Jacquet and Lester Young, he teamed with his older brother Robert McNeely, who played baritone saxophone, and made his first recordings with drummer Johnny Otis, who ran the Barrelhouse Club that stood only a few blocks from McNeely's home.Shortly after he performed on Otis's "Barrel House Stomp." Ralph Bass, A&R man for Savoy Records, promptly signed him to a recording contract. Bass's boss, Herman Lubinsky, suggested the stage name Big Jay McNeely because Cecil McNeely did not sound commercial. McNeely's first hit was "The Deacon's Hop," an instrumental which topped the Billboard R&B chart in early 1949.The single was his most successful of his three chart entries.

Thanks to his flamboyant playing, called "honking," McNeely remained popular through the 1950s and into the early 1960s, recording for the Exclusive, Aladdin, Imperial, Federal, Vee-Jay, and Swingin' labels.But despite a hit R&B ballad, "There Is Something on Your Mind," (1959) featuring Little Sonny Warner on vocals, and a 1963 album for Warner Bros. Records, McNeely's music career began to cool off. He quit the music industry in 1971 to become a postman.[1] However, thanks to an R&B revival in the early 1980s, McNeely left the post office and returned to touring and recording full-time, usually overseas.His original tenor sax is enshrined in the Experience Music Project in Seattle, and he was inducted into The Rhythm & Blues Hall of Fame.

In 1989, Big Jay McNeely was performing at the Quasimodo Club in West Berlin the night the Berlin Wall came down, "and Cold War legend has it that Big Jay McNeely blew down the Berlin Wall in 1989 with his earth-shaking sonic sax torrents outside the Quasimodo Club in West Germany"

Big Jay McNeely regularly performs at the International Boogie Woogie Festival in The Netherlands, and recorded an album with Martijn Schok, the festival's promoter, in 2009. The album was entitled Party Time, and one track from the album, "Get On Up and Boogie" (Parts 1, 2, and 3)", was featured on the vintage music compilation This is Vintage Now (2011).


The honkers were known for their raucous stage antics and expressive, exhibitionist style of playing. They overblew their saxophones and often hit on the same note over and over, much like a black Southern preacher, until their audiences were mesmerized. The style began with Illinois Jacquet's lively solo on Lionel Hampton's smash 1942 hit "Flying Home." Jacquet refined the honking technique in 1944 on the first Jazz at the Philharmonic concert in Los Angeles. Among the other saxophonists who started having honking hits in the late 1940s were Hal Singer (with the number one R&B hit "Cornbread", Lynn Hope, Joe Houston, Wild Bill Moore, Freddie Mitchell, and many more.

McNeely was credited with being the most flamboyant performer. He wore bright banana- and lime-colored suits, played under blacklights that made his horn glow in the dark, used strobe lights as early as 1952 to create an "old-time-movie" effect, and sometimes walked off the stage and out the door, usually with the club patrons following along behind. At one point, in San Diego, police arrested him on the sidewalk and hauled him off to jail, while his band kept playing on the bandstand, waiting for him to return. The honking style was fading somewhat by the early 1950s, but the honkers themselves suddenly found themselves providing rousing solos for doo wop groups; an example was Sam "The Man" Taylor's eight-bar romp on The Chords' 1954 "Sh-Boom." Bill Haley also used honking sax men Joey D'Ambrosio and Rudy Pompilli on his rock and roll records, including "Rock Around the Clock." However, the rise of the electric guitar essentially ended the dominance of the tenor sax in rock and roll by 1956.





                            





              

Exclusive Records 1949 B/W Junie Flip


                          


                                    




                                







BILLY PENROSE


   Con BILLY PENROSE QUARTET nos encontramos una vez más delante de estos artistas los cuales es difícil encontrar documentación porque apenas existe ya véis que nos tenemos que conformar con la imagen de uno de sus discos a pesar de ello , el canal BOOGIE WOOGIE  nos ofrece unos audios interesantes montados con videos más o menos afines ,que reproducimos por que consideramos  originales y diferentes , por entender que pueden resultar de interés para todos los aficionados aqui los tenéis : 

                                                           
                         



                       

                                                           
                      





                                                                   
                       


In March, 1945, as the terrible war in Europe was coming to an end, a young pianist named Billy Penrose entered the now-famous Abbey Road studios in London to record four Boogie-Woogie instrumentals. His "day job" (although usually performed in the evening) was as a member of the Lou Preager Orchestra, which was regularly heard on BBC radio and was also the resident dance band at the famous Hammersmith Palais. In the studio, Penrose was accompanied by the guitarist (Paul Rich, later more famous as a singer), bass player and drummer from Preager's orchestra, and when the third and fourth titles from the session were issued on a Parlophone 78 that May, "Boogie In The Groove" & "Lazy Boogie", it was under the name "Billy Penrose Quartet".

In June, 1945, by which time the war in Europe had ended, Billy Penrose and the same accompanists returned to Abbey Road to cut two more sides (possibly more), "Boogie In Black And White" & "Billy's Boogie", which were issued in September. In October of the following year, the first two titles from the earlier session, "Harlem Boogie" & "Boogie In The Ballroom", were issued. And that, as far as recording in his own name was concerned, was that, Billy Penrose became one of countless thousands of footnotes (if that) in the history of the music business. To Boogie-Woogie aficionados, however, Billy Penrose made some of the finest English recordings in the genre, original, all self-penned and clearly Ragtime and Jazz influenced.

Sadly, Billy Penrose's life was not a happy one, but we have the music to remember him by, presented here in the order in which they were recorded. This sixth (and last) track is "Billy's Boogie", from