domingo, 31 de enero de 2016

BOOGIE WOOGIE: SUMMIT !! : Jay McShann - Milt Buckner - Joe Turner - Sammy Price - Lloyd Glenn - Willie Mabon

Tradición que seguimos: 
Todas las tardes de los domingos en una humilde morada, de la calle Aragón de la Bcn de la postguerra , en donde más cornadas había dado y daba el  hambre sonaba por el " cel obert  " de la finca a piano sin tapas ,  las notas del Boogie Woogie, después de compartir mesa dominguera, café copa y puro se daba rienda suelta a ahogar todas las penas de la semana con piezas de Boogie y Swing , Qual chiquillo trinxeraire me dejaba llevar por las notas mágicas que ayudaban a alegrarnos el corazón ! 


viernes, 29 de enero de 2016


K.C. Miller

Klaus Müller aka KC Miller, nascut el 1965, es va criar a Bad Pyrmontd .Després de diversos anys de formació clàssica de piano, la seva primera trobada amb Piano Blues & Boogie Woogie. va ser justament a  la botiga de discos local que es va trobar amb un registre de Vince Weber i va ser  fulminat per el cuquet del Boogie Woogie . En el camí es va anar trobant als seus  als seus pianistes preferits,  Vince Weber, Axel Zwingenberger, Christian Willisohn, Albert Ammons, Pete Johnson, Meade Lux Lewis, el Dr. John i James Booker que el va impressionar. 

En 1993 va fundar a Berlín els "Busters" Boogie, .

L'últim projecte es diu Sax-O-Boogie, amb Volker Halbauer (saxòfon i veu). El nom ho diu tot: Boogie Woogie, Blues i Jump Jive i amb un saxofon . 

En els últims anys, ha actuat amb: Kat Baloun, Boogie Blasters, Boogie Ràdio, Angela Brown, Hattie Sant Joan, Jan Hirte, Jive Taurons, Bernd Kuchenbecker, Claudia Lahmann, Londres Philipps, Roger i l'Evolució, Micha Maas, Tom Shaka, Jacquie Virgili, Abi Wallenstein entre d'altres. 


Boogie Woogie Power Trio

- KC Miller, piano
- Andreas Bock, drums
- Blues Rolle, harmonica

Live im Ratskeller Berlin-Köpenick, Februar 2015



martes, 26 de enero de 2016

Harmonica Boogie Instrumentals Part 1 - Hunch Rhythm Feat. VICTOR PUERTAS

Con todo el respeto que se merecen, aquí el primer de los tres boogies instrumentals imprescindibles que uno debe aprender! Este es el primero; grabado por Kim Wilson llamado Hunch Rhythm en su disco Tigerman. Lleno de fraseos muy originales, con mucho swing, dinámicas y un vibrato suave pero imprescindible! Almenos es lo que yo oigo al escucharlo a él.
A nivel de equipo, estoy usando un amplificador hecho por Austin Hardiman, un micro con un elemento de crystal con baja respuesta, una Crossover en La y una banda con mucha paciencia y caminando a tope!
Aquí podéis escucharla con mejor calidad si estáis usando unos buenos altavoces! -->


Hunch Rhythm - Kim Wilson "Tigerman" 

Victor Puertas - Harmonica
Balta Bordoy - Guitar
Oriol Fontanals - Bass
Reginald Vilardell - Drums

With all the respect they deserve, here the first of the three instrumentals boogies essential that one should learn! This is the first; recorded by Kim Wilson called Hunch Rhythm on your hard Tigerman. Full of very original phrasing, with much swing, dynamic and smooth vibrato but essential! At least it is what I hear to listen to him.
At the team level, I'm using an amplifier by Austin Hardiman, a micro crystal element with low response, a Crossover in the band and with much patience and walking butt!

Here you can listen with better quality if you are using good speakers! -> 


jueves, 21 de enero de 2016


                      En la fotografía con La Vina Steffens 

    More and extraordinary  info about the artist in : OQUIN 

    Un par de boogie-woogies a cargo de GENE O' QUIN un artista con una voz muy característica, conocido básicamente entre los ambientes Hillbilly / Rockabilly 



Gene O'Quin (1932-1978) was a country and western and honky tonk singer born in Dallas on September 9, 1932 He established himself professionally at Dallas' Big "D" Jamboree, a Grand Ole Opry-like radio showcase, becoming one of its most popular entertainers. O'Quin recorded his first song at the age of 15 and was signed by Capitol Records.

He later relocated to California. His recording career reached its peak between 1950 and 1955.

O'Quin's voice was high and nasally and had a twang evocative of Little Jimmy Dickens. He cut many novelty songs and boogie-woogie records. The persona in his records was happy-go-lucky and well suited to hillbilly music. Though he did not record any rockabilly songs in his career, rockabilly enthusiasts have embraced him. Ironically, his career was eclipsed with the advent of rock and roll but did not successfully make the transition as rockabilly artists did.

O'Quin died when his car was hit by a bus in Riverside, California on November 27, 1978.

miércoles, 20 de enero de 2016


Hollywood Fats (March 17, 1954 – December 8, 1986) was an American blues guitarist, active in Los Angeles, California, United States.

Hollywood Fats was born Michael Leonard Mann in Los Angeles, and started playing guitar at the age of 10. While in his teens, his mother would drive him to various clubs in South Central Los Angeles to jam with well-known blues musicians when they came to town. Hollywood Fats' father was a doctor and his siblings went on to become doctors and lawyers. He met Buddy Guy and Junior Wells who gave him the nickname. Hollywood Fats toured with James Harman, Jimmy Witherspoon, J. B. Hutto, John Lee Hooker, Muddy Waters, and Albert King.

During the 1970s and 1980s he worked with the blues harmonica player and singer James Harman. He played on a number of his records including Extra Napkin's, Mo' Na'Kins, Please, Those Dangerous Gentlemans and Live in '85. Other guitarists with whom he played included Junior Watson, Kid Ramos and Dave Alvin.

Hollywood Fats was invited to be a sideman to Muddy Waters and later met the harmonica player Al Blake. Blake had just moved to Los Angeles from Oklahoma. In 1974, Hollywood Fats and Blake formed a band consisting of pianist Fred Kaplan, Richard Innes on drums and Canned Heat bassist Larry Taylor called the Hollywood Fats Band.

For a King Biscuit Flower Hour concert on September 7, 1979, which was later to be released on record, Hollywood Fats played the lead guitar in Canned Heat.

The Hollywood Fats Band released a self-titled album in 1979, the only album under their name. The band broke up not long after and Hollywood Fats continued to play with Harman's band, and The Blasters in 1986 replacing Dave Alvin.

Hollywood Fats also played with a non-blues band called Dino's Revenge from 1985 through 1986. He recorded three songs with Dino's Revenge as well as playing several live performances. The band consisted of Marshall Rohner of T.S.O.L. as well as Kevan Hill, Butch Azevedo and Steven Ameche all of The Twisters.

Hollywood Fats died of a heroin overdose in 1986 in Los Angeles at the age of 32. At the time of his death, he was playing with the James Harman Band, the Blasters and Dino's Revenge.


VIDEOS  By "Like" Al Blake on Facebook!

Hollywood Fats Band with Roy Brown live at the Whitehouse Tavern, Laguna Beach, CA, 1980.

Roy Brown (" Good Rockin' Tonight", covered by and made a hit by " The King ", Elvis Presley) was one of the greatest and most influential blues singers of all time-a true pioneer and legend. He came out of retirement to perform with The Fats Band exclusively. He never rehearsed with the band, "Boogie Woogie Blues" was completely impromptu. He passed away not long after this extremely rare and exceptional live recording was made. 
Fats was only twenty six years old at the time. He too tragically died six years later, cutting short a life that had he lived, was, destined for super stardom in the world of music.Upon Fat's death Guitar Player Magazine called him the greatest blues guitar player to come along in the last 25 years.In the Dec. 1992 Guitar Player, Dave Rubin wrote "... Hollywood Fats solos will drop your Jaw".In a tribute to Fats music, writer and critic Jim Washburn wrote "though a consummate backing musician,giving arrangements a spark without any ego flash to detract from a songs structure, Fats could always be counted on to step forward when it came time to solo and pour out chorus after chorus of incendiary playing.Along with a mastery of the breath of blues styles,he would also work into his solos modern jazz and Hendrix inspired touches.And through hundreds of gigs in unsung bars he was never repetitious,never uninspired,always pushing to make music that said something more.When Fats was"on" there wasn't a better blues player alive. Clearly no one has come along to take Fat's place since he left this world more than 25 years ago and blues music has never been the same since.
David Mac--Blues Junction Productions

DON'T MISS "Love For Sale" by Roy Brown w/ The Hollywood Fats Band- on The Tube-recorded the same night.It is a must hear!!!

Roy Brown -- Vocals
Hollywood Fats -- Guitar ( playing a Gibson L-4 through a Fender 3x10" Band Master )
Richard Innes -- Drums
Freddy Kaplan -- Piano
Larry Taylor - Bass



The Hollywood Fats Band live at the Whitehouse Tavern, Laguna Beach, 1980.

On this track Fats is heard playing his own high energy style of jump blues like no other. The band is also smokin to say the least! 
The Hollywood Fats Band took 40's and 50's blues,boogie-woogie,swing, and jazz, combined these classic styles with an " in the moment ' exciting modern edge to create some of the best, most visionary, and lasting music of it's kind.Tragically Hollywood died at the young age of 32, cutting short a life that had he lived, was destined for super stardom.In a tribute to Fats music writer and critic Jim Washburn wrote "though a consummate backing musician,giving arrangements a spark without any ego flash to detract from a songs structure, Fats could always be counted on to step forward when it came time to solo and pour out chorus after chorus of incendiary playing.Along with a mastery of the breath of blues styles,he would also work into his solos modern jazz and Hendrix inspired touches.And through hundreds of gigs in unsung bars he was never repetitious,never uninspired,always pushing to make music that said something more.When Fats was"on" there wasn't a better blues player alive.Guitar player magazine wrote in their tribute that Hollywood fats was the greatest blues guitar player to come along in 25 years.Muddy Waters said".....there ain't nobody walkin the earth who can play better than him."
This track also features the legendary drummer Al Duncan. Willie Dixon said that Al Duncan, Freddy Below and Odie Payne were his "go to guys" for all of the recordings he produced for Chess, Checker and Argo Records that needed a drummer. He went on to say that Al was always his number one choice. Al was also a session drummer for Vee-Jay, Columbia, Capitol, Mercury, ABC Paramount Records and others. He was the drummer for Chuck Berry's first road band with Willie Dixon on bass and Lafeyette Leak on piano. He recorded and worked with the legendary likes of Sonny Boy Williamson, Buddy Guy, John Lee Hooker, Etta James,Jay Mcshann, B.B. King,Jimmy Reed, Otis Rush, Little Walter, Coco Taylor, Amos Milburn,Louis Jordan and Chuck Berry just to name a few. He was also a very good song writer who penned "Ain't No Need to Go No Further Brother" recorded by the legendary harmonica player Little Walter. Duncan also played drums on quite a few of the Sonny Boy Williamson classics recorded in the early 1960's like "Bring It On Home". This Chicago Blues classic was recorded some years later by Led Zeppelin.Al moved from Chicago to Los Angeles with Willie Dixon in the late 1970's. He joined the Fats Band in 1980 replacing Richard Innes.

Al Blake -- Vocals, Harmonica
Hollywood Fats -- Guitar
Al Duncan - Drums
Freddy Kaplan -- Piano
Larry Taylor -- Bass

martes, 19 de enero de 2016


15th Silvan Zingg International Boogie Woogie Festival in Lugano Switzerland, from 8 till 10 april 2016. Book now your tickets:
Outstanding pianists, musicians, singers, dancers, more than 24 hours of music. Gala dinner, big concert, workshops, dance lessons, sunday boat cruise,...

viernes, 15 de enero de 2016


Pianista y Batería ! 

Moritz Schlömer, nascut el 1987, va començar a l'edat de 7 anys a tocar la bateria. En els seus inicis escénics fa formar part del duo de Boogie Woogie amb el pianista Stefan Ulbricht i des de fá uns anys que forma part  de l'escena Boogie alemany. A l'edat de 18 anys, va tocar  per primera vegada amb Axel Zwingenberger, que segueix sent el que més el van inspirar. Quan no està amb Stefan Ulbricht girant per  l'estranger, desenvolupant  altres projectes , per exemple tocant Boogie Woogie piano en solitari. 
Així Moritz Schlömer ha de tenir les millors condicions d'allò més autèntic possible a aquest so ó estil, ja sigui a la bateria o a les tecles.  Per respondre a la  la pregunta que tanta gent l´hi fá a ell quin instrument li va millor , ó se sent més a gust,  ell respon: " Depen del que em resulti  més divertit!". Perquè  la diversió mitjançant la música és el més important per Moritz Schlömer. El seu lema: "No hi ha música sense diversió i rés  no és divertit sense música!" 

A l'octubre de 2011, Moritz Schlömer va ser guardonat amb el Premi de boogie-woogie alemanya "Pinetop" en la categoria jove pianista.
Nacionalitat: Alemany
Data de naixement: 1987.06.08

miércoles, 6 de enero de 2016


October 30, 1923, Baton Rouge, LA, United States
May 21, 2002, Jefferson, LA, United States





Clarence Samuels was born in Baton Rouge, LA. on October 30, 1923. While in his teens he sang for his father's local group. Clarence soon struck out on his own and worked a double bill with Roy Brown at The Grenada Club in Galveston for awhile around 1945. Samuels made his first recordings for Aristocrat in Chicago in 1947 and 1948. Between working the clubs and juke joints around the country he secured recording dates seemingly everywhere cutting records for Swingtime/Downbeat in Los Angeles, Freedom in Houston, and DeLuxe in New Orleans in the latter part of 1948 and in 1949. Samuels took a five year sabbatical from the studio and then dropped two records for Lamp in New York City. In 1956 he had a two song session for Excello in Nashville. His last recordings were 45's made for small labels in Texas in 1966. One of the guitarists who worked live gigs in the 50's with Samuels was Johnny Copeland. Clarence Samuels passed away on May 21, 2002

Clarence Samuels:Vocals 

Other musicians unknown

Recorded in Houston, TX. c. January, 1950

Originally issued on the 1950 single (Freedom 1544) (78 RPM)

This recording taken from the 1993 CD "Uptown Blues (1946-1959)"

By randomandrare 



Holy blazes! How many Blazes were there? This influential vocal group recorded as the Four Blazes, the Three Blazes, the Five Blazes, and even the just plain Blazes on a bad counting day in the studio. The group was founded in 1940 as the Four Blazes by drummer Paul Lindsley "Jelly" Holt, already a veteran of sizzling string groups such as the Five Rhythm Rocketeers. The other charter Blazes, previously known under the nasty band moniker of the Four Dusty Demons, were Jimmy Bennett and William "Shorty" Hill, who between them covered guitar, tipple, ukulele, and mandolin, with Prentice Butler on bass. All sang and did impressions as well. In 1941, swing stalwart Floyd McDaniel switched from acoustic to electric guitar and replaced Bennett, considerably changing the sound of the group in the process. A further addition was made in 1945 in the form of Pittsburgh pianist Ernie Harper. Legendary Chicago bandleader Duke Groner was the Blazes' bass at some point between 1943 and 1946.

By this time, it seemed prudent to change the name to the Five Blazes, but this caused confusion, since a Los Angeles-based group also called itself the Four Blazes at the time. The group even recorded a number, entitled "Chicago Blues," as if intentionally obscuring those who track down missing groups by looking for locational clues in song titles. The Chicago group's recording career actually didn't begin until 1947, with Aristocrat. As the Five Blazes, the group was only the second act to cut sides for what would become an important Chicago independent label, eventually to be transformed into the Chess blues kingdom. Three years later, it was back to the Four Blazes, with Ernie Harper going out in 1950. (He died around the same time.) At the end of 1951, a bassist named Tommy Braden pulled into town with saxophonist J.T. Brown's band. Braden's singing and songwriting would be central to the Blazes' sound for the remainder of the group's existence. His 1952 ditty "Mary Jo" hit the top on the R&B charts. Recordings made in this period utilized the talents of session reed player Eddie Chamblee, who pitched in on both clarinet and tenor sax. Although when he overdubbed himself on "Perfect Woman," the result was so imperfect that even a heavy dose of reverb couldn't fix it.

The group continued recording until nearly the mid-'50s, but the final recording sessions indicate more lineup changes. An organist named Gordon Fairholt is suspected of having played piano on some tracks, but has yet to be completely proven as the culprit. In 1953, there were newspaper advertisements for the Five Blazes, suggesting further incendiary growth. The fire was stoked further by the presence of sax giant Red Holloway on the last sessions and not Chamblee, as sometimes listed in discographies. This session produced the classic "Did You Ever See a Monkey Play a Fiddle," once again written by Braden, who left soon thereafter to form his own Tommy Braden Quintet. The Four Blazes went on with another vocalist, though Braden still seemed interested in the studio projects and was back in the fold for the last session in 1955. The group broke up the same year. Tommy Braden died in 1957, Jelly Holt carried on singing with the Four Whims (retiring in the early '60s), while Floyd McDaniel (1915-1995) continued on the scene, including years with the Ink Spots. Chicago blues fans noticed he was still around in the '80s and he made at least one CD after his rediscovery.

lunes, 4 de enero de 2016


Best known for her beehive-wearing stint with blues diva Candye Kane ( see post in SENTIR EL BLUES  ) in the '90's, Sue Palmer has been making her mark in the last decade with her high energy band, the Motel Swing Orchestra, and her flashy boogie woogie stylings.
For ten years, Sue Palmer was the musical partner of singer/recording artist Candye Kane. They toured France and most of Europe, including Scandinavia, Greece and Turkey. Their travels also took them to Reunion Island, Canada, Australia, and all over the U.S. Under the moniker Sue "Beehive" Palmer with Candye Kane and the Swingin' Armadillos, she appeared on the Penn & Teller Show and the Roseanne Show, where Sue acted as the talk show band leader (1999). Sue is a featured artist on all four of Kane's CDs under the Antones and Sire labels. Sue's instrumental composition "Beehive" was featured on Kane's "Diva La Grande" CD, and Sue and Candye co-wrote the title tune on Kane's CD "Swango." "Swango" is also featured in the documentary "The Girl Next Door," a biography of porn star Stacy Valentine produced by National Public Radio's Christine Fugat in 2000.
Lloc web





Sue Palmer at Gator by the Bay, San Diego, 2007. 
San Diego' s Queen of Boogie Woogie, Sue Palmer, has amazed audiences all 
over the world with her unique style and phenomenal left hand. She delights 
in creating an atmosphere reminiscent of the small clubs and cafes of 1932.

Sue Palmer&Her Motel Swing Orchestra made their debut at the Sacramento Jazz Jubilee as well as the Glendale Kiwanis Jazz Festival, to rave reviews. Sue Palmer and the Motel Swing Orchestra has traveled and performed at the Mammoth Jazz Festival, also traveled to Prague, Rome, the Netherlands, Germany, and Switzerland, as well as at the Palais Farnais, French Embassy.

domingo, 3 de enero de 2016

WAX & BOOGIE at Hotel Casa Fuster - Café Vienés - BCN !



Grabación en directo realizada en el Hotel Casa Fuster (Café Vienés) del Paseo de Gracia de Barcelona, y lugar frecuentado por el cineasta Woody Allen, el pasado 1 de enero del 2016 con la voz de Ster Wax, el piano de David Giorcelli y las escobillas de Reginald Vilardell.



Renato Carosone - Il boogie woogie dei bicchieri por mauro-piffero