sábado, 27 de febrero de 2016


SARGENT, LOU  - was Luther Steinberg, scion of a prominent music family. From the Beale Street barrelhouses to the Stax era, the Steinbergs were present. Milton Steinberg was a pianist at Pee Wee's Saloon from around 1910 until the 1950s and had four sons who became musicians (Luther, Wilbur, Morris, and Lewie) as well as a daughter, Nan, who sang with Fats Waller and various swing bands. Luther played trumpet, while Wilbur and Lewie both played bass. Their last name was honestly come by, it seems.
Luther McCallum Steinberg, Sr. ^
Either Milton of his father was the product of a union between a Beale Street pawnbroker and an African American woman, although the brothers were reportedly brought up in the Catholic faith. Luther and Wilbur led the first African American band on television in the mid-South. Either Sam Phillips or Chess Records changed Luther's name to Lou Sargent and Wilbur's to Les Mitchell.

The pseudonym Lou Sargent was coined by Chess Records for "Ridin' The   Boogie", the sole release for a band nominally fronted by trumpet-player Luther Steinberg,   but which was effectively Phineas Newborn Jr's band (whom Jackie Brenston would annex   following his split with Ike Turner). However, the Lou Sargent name has generally become   associated with Steinberg, whose brother Wilbur played the bass on the session and sung  lead on the flip-side "She Really Treats Me Wrong".

Luther Steinber and His Trumpet & His Orchestra featuring Luther (left), Lewie (2nd from left), and Wilbur (standing in front of mic boom). >

Luther later married WDIA on-air personality and black socialite Martha Jean Jones, and Left Memphis to work for Lionel Hampton, as did Morris, who later worked with B.B. King, Willie Mitchell, and other bands. Wilbur, who sings on ''She Really Treats Me Wrong'', became a bassist at Stax and Hi Records (he's reportedly on Ace Cannon's signature hit, ''Tuff'' and Rufus & Carla Thomas's ''Cause I Love You''). Lewie also became a bassist at Stax, playing on Booker T's ''Green Onion''. As the sole surviving brother, Lewie was on-hand to acknowledge the debt that Memphis music owed the Steinbergs when they were accorded a Brass Note on Beale Street's Walk of Fame in November 2010. Luther's wife, Martha Jean the Queen, became a radio legend in Detroit (her station's call-letters, WQBH, was, she said, an acronym for Queen Broadcast Here), and on the occasion of her death in February 2000, it was noted by Billboard that Luther Steinberg had died on February 15, 2004, age of 72. Both died back in Memphis. Luther and Martha Jean's daughter, Dianne Steinberg Lewis, sang back-up for Rod Stewart, Peter Frampton, and others, and has recorded quite prolifically. (CE)

Chess 1465   Lou Sargent and his Orchestra
Ridin' the boogie / She really treats me wrong (July 1951) 
Recorded in May 1951 at Memphis Recording Service. B-side vocals by Les Mitchell.


martes, 23 de febrero de 2016


   No es nuestra intención averiguar que historias afines tienen el Boogie -Woogie y el Rockabilly , nos gustan ambos géneros, aunque no olvidéis que estáis consultando una página dedicada mayormente al Boogie-Woogie más bien clásico. De todas formas aquí tenéis una muestra de que no siempre nos tenemos que regir por los mismos cánones. Como demostrado queda que el Rockabilly no es exactamente nuestra especialidad os remitimos a la página web de JACK BAYMOORE,, así como a su Facebook., para más info.


Jack Baymoore

Jack Baymoore comenzó su carrera musical en torno a 1988-1989 en un pequeño cuarto  para ensayar con sus amigos en el grupo incipiente Neo-Rockabilly  . Puesto que él no tocaba  ningún instrumento, que era la voz de que se había extendido a las melodías rockabilly. El éxito del grupo llegó bastante rápidamente y Jack  consiguió un contrato de grabación con holandeses Tombstone Records en 1992. Se hizo este año que es cuando van a  Amsterdam para  firmar su contrato. Cuando el LP de larga duración y el CD retrasaron su edición , grabaron  los muchachos inquietos en un vinilo-EP para satisfacer el hambre de sus fieles seguidores ........ continue............... in his  JACK BAYMOORE FACEBOOK 


El món del jazz s'omple amb la reialesa. Paul Whiteman, Benny Goodman i Benny Carter van ser anomenats  "Rei" en un moment o altre, de jazz, swing i simplement, respectivament. Ellington era Duke, Hines va ser un Comte,  Basie va celebrar dos títols, el de Comte i Rei. Quan ell tot just sortía de l'adolescència, el pianista Charles Phillip Thompson va ser anomenat "Sir".

"Em diuen 'Sir Charles'", ha dit entre bastidors entre sèries durant un recent concert al Jazz Standard. "Vaig agafar aquest nom de Count Basie. Peró en realitat, Lester Young em va posar aquest nom."

Com un nen de 12 anys d'edat, a Colorado Springs, Thompson ja tocava el piano piano  a les festes particulars,  quan Basie va arribar a la ciutat amb la banda de Bennie Moten, un grup que més tard formarien el nucli de la banda de Basie després de la mort de Moten. "Algú li va parlar de mi. Estava tocant  amb ... La banda de Moten. El meu pare em va deixar anar als balls amb la meva germana, perquè li agradava anar a ballar. I va ser llavors quan em vaig trobar amb Count Basie, i ell em va deixar anar amb ell  i tocar el piano ". .............. 


Charles Phillip Thompson (born March 21, 1918) is an American swing and bebop pianist, organist, composer and arranger.

Thompson was born in Springfield, Ohio on March 21, 1918. His father was a minister and his stepmother played the piano "He first studied violin and briefly played tenor saxophone, but took up piano as a teenager." He moved with his family to Parsons, Kansas, and he attended a Kansas City high school.

By the age of twelve Thompson was playing private parties with Bennie Moten and his band in Colorado Springs. During this time Count Basie played off and on with Moten's band, and during a showing Basie called the young Thompson up to play.[citation needed] He was dubbed Sir Charles Thompson by Lester Young.

Later life and career
Thompson has chiefly worked with small groups, although he belonged to the Coleman Hawkins/Howard McGhee band in 1944–1945.Throughout the 1940s he played and recorded with Charlie Parker, Dexter Gordon, Miles Davis and J.C. Heard, among others. He played with Lucky Millinder's big band in 1946, and under Illinois Jacquet in 1947–48 and 1952. He worked freelance, principally on organ, for much of the 1950s. He played with Parker again in 1953 and recorded with Vic Dickenson and Buck Clayton in 1953–54.

Thompson worked with Earl Bostic in the late 1950s before heading his own quartet in 1959.In the early 1960s he toured Europe and Canada with Clayton. Thompson was in Europe again in 1964, with Jazz at the Philharmonic, and in 1967 for the show Jazz from a Swinging Era."Living variously on the West Coast, where he often worked with Vernon Alley, and in Toronto, Paris, and Zurich, he continued to lead small groups through the 1970s and 1980s."

Thompson composed the jazz standard "Robbins' Nest".




The great Organ & piano player Sir Charles Thompson, playing his own composition Happy Boogie. Recorded Toronto March 18th 1984,


domingo, 14 de febrero de 2016


Con fecha 7/8/9 confeccionamos nuestro primer post dedicdo al pianista CHAMPION   JACK DUPREE, como que por razones de derechos nos descolgaron el video que lo complementaba , repetimos esta vez con tres temas legendarios del Boogie Woogie                                             


Chicago Blues Volume 2 (1939-1944) including Gene Gilmore, Leonard Caston, The Five Breezes, Ruth Ladson, Champion Jack Dupree Buy the album on which this track appears by going to www.document-records.com Document Records has the largest catalogue of vintage blues, gospel, jazz and old-time country music in the world


From The L.P "Blues From The Gutter" Atlantic Records 1959


Artist Biography by 

A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce.

Dupree was notoriously vague about his beginnings, claiming in some interviews that his parents died in a fire set by the Ku Klux Klan, at other times saying that the blaze was accidental. Whatever the circumstances of the tragic conflagration, Dupree grew up in New Orleans' Colored Waifs' Home for Boys (Louis Armstrong also spent his formative years there). Learning his trade from barrelhouse 88s ace Willie "Drive 'em Down" Hall, Dupree left the Crescent City in 1930 for Chicago and then Detroit. By 1935, he was boxing professionally in Indianapolis, battling in an estimated 107 bouts.

In 1940, Dupree made his recording debut for Chicago A&R man extraordinaire Lester Melrose and OKeh Records. Dupree's 1940-1941 output for the Columbia subsidiary exhibited a strong New Orleans tinge despite the Chicago surroundings; his driving "Junker's Blues" was later cleaned up as Fats Domino's 1949 debut, "The Fat Man." After a stretch in the Navy during World War II (he was a Japanese P.O.W. for two years), Dupree decided tickling the 88s beat pugilism any old day. He spent most of his time in New York and quickly became a prolific recording artist, cutting for Continental, Joe Davis, Alert, Apollo, and Red Robin (where he cut a blasting "Shim Sham Shimmy" in 1953), often in the company of Brownie McGhee. Contracts meant little; Dupree masqueraded as Brother Blues on Abbey, Lightnin' Jr. on Empire, and the truly imaginative Meat Head Johnson for Gotham and Apex.

King Records corralled Dupree in 1953 and held onto him through 1955 (the year he enjoyed his only R&B chart hit, the relaxed "Walking the Blues.") Dupree's King output rates with his very best; the romping "Mail Order Woman," "Let the Doorbell Ring," and "Big Leg Emma's" contrasting with the rural "Me and My Mule" (Dupree's vocal on the latter emphasizing a harelip speech impediment for politically incorrect pseudo-comic effect).

Blues from the Gutter After a year on RCA's Groove and Vik subsidiaries, Dupree made a masterpiece LP for Atlantic. 1958's Blues From the Gutter is a magnificent testament to Dupree's barrelhouse background, boasting marvelous readings of "Stack-O-Lee," "Junker's Blues," and "Frankie & Johnny" beside the risqué "Nasty Boogie." Dupree was one of the first bluesmen to leave his native country for a less racially polarized European existence in 1959. He lived in a variety of countries overseas, continuing to record prolifically for Storyville, British Decca (with John Mayall and Eric Clapton lending a hand at a 1966 date), and many other firms.
Back Home in New Orleans Perhaps sensing his own mortality, Dupree returned to New Orleans in 1990 for his first visit in 36 years. While there, he played the Jazz & Heritage Festival and laid down a zesty album for Bullseye Blues, Back Home in New Orleans. Two more albums of new material were captured by the company the next year prior to the pianist's death in January of 1992. Jack Dupree was a champ to the very end.

LLUIS COLOMA TRIO * Blues de Mississippi a Chicago


Concierto de Lluís Coloma Trío (Lluís Coloma, piano; Germán Muñoz, contrabajo y Marc Ruiz, batería) en el ciclo "Blues, de Mississippi a Chicago". Obras al piano: blues & boogie-woogie

El 15 de noviembre 2014.

El boogie-woogie es el blues alegre. Con el piano como protagonista, este subgénero extrae al blues del ámbito triste con el que es generalmente asociado y lo introduce en el mundo festivo, humorístico y ruidoso de las pistas de baile. En este recital, Lluís Coloma intercala piezas propias y de autores clásicos como Ernesto Lecuona, Meade Lewis o Hoagy Carmichael.

domingo, 7 de febrero de 2016


Nacido  el 27 de agosto de 1954 en Viena, descubrió su amor por el piano y porel Blues  en 1971, cuando tenía 17 años joven y empezaba a tocar la batería , lo que hizo durante unos cuatro años 
Un programa de blues en la radio, conoció a  los pianistas Vince Weber, Hans-Georg Möller y Axel Zwingenberger de Hamburgo, que causaba en ese momento la fiebre del boogie woogie en Alemania, y el encuentro con el "gurú de blues" vienés Hans Maitner, protagonista del legendarioa programa de radio "Living blues" dejó absolutamente  fascinado a Martin Pyrker 
Solo y junto con muchos otros artistas conocidos en el país como en el extranjero, Martin dio un montón de conciertos en clubes de jazz, bares de blues y al blues y festivales  donde también compartió el piano con leyendas ya desaparecidas del blues: Blind John Davis, Roosevelt Sykes, Memphis Slim, Champion Jack Dupree, sólo para mencionar algunos de ellos.
Desde el festival de boogie woogie  de Colonia (WDR 1974) y Viena (sala de conciertos 1976) el renacimiento de boogie woogie 
Más de 2000 actuaciones y conciertos en el país y en el extranjero han dejado su huella en la carrera Pyrkers desde entonces. Grabando gran cantidad de discos. 
Desde 1999 está acompañado con frecuencia por su hija Sabine en la batería, que alcanzaron en la experiencia profesional de su parte absoluta y motiva a su padre de nuevo en cada una de sus actuaciones de una manera refrescante.
Martin Pyrker hoy en día es el más conocido auténticos blues y el boogie pianista en Austria y sus discos son bien conocidos en EE.UU. también, el país de origen de este tipo de música.



Born on August 27th,1954 in Vienna, discovered his love for the piano and thereby for the blues in 1971, when he was 17 years young and already playing the drums for 4 years.
A blues program on the radio, an acquaintance with the pianists Vince Weber, Hans-Georg Möller and Axel Zwingenberger from Hamburg, who caused at that time the boogie woogie fever in Germany, and the meeting with the Viennese “blues guru” Hans Maitner, protagonist of the legendary radio program “Living Blues” fascinated Martin Pyrker of a kind of music that has meanwhile become 100 years old: the classical piano-blues and boogie-woogie.

Pyrker’s legendary concerts in the 1970s with Zwingenberger, Weber and Möller and, originated from this, the first piano-boogie woogie record in Austria (“Boogie Woogie Session 76” / EMI) were the beginning of a growing enthusiasm for this kind of music in Austria and Germany and influenced further generations of young pianists.

Solo and together with many other well-known artists at home and abroad, Martin gave a lot of concerts in jazz clubs, blues bars and at blues and boogie festivals, where he also shared the piano with long gone legends of the blues: Blind John Davis, Roosevelt Sykes, Memphis Slims, Champion Jack Dupree, just to mention a few of them.

Since the legendary boogie woogie festival of Cologne (WDR 1974) and Vienna (concert hall 1976) the renaissance of boogie woogie could not be stopped anymore, unnumerous tours through Europe and USA followed (as "Stars of Boogie Woogie" and others).

More than 2000 performances and concerts at home and abroad have left their mark on Pyrkers career since then.
Also a lot of records were produced, out from a repertoire of more than 100 own compositions and the most important blues and boogie woogie standards, solo and together with international stars of the blues, recorded in Vienna, Wels, Paris and Fort Worth.

Since 1999 he is accompanied frequently by his daughter Sabine on the drums, who attained in the meanwhile absolute professional experience and motivates her father anew at each of their performances in a refreshing way.
Martin Pyrker today is the most known authentic blues and boogie pianist in Austria and his CDs are well known in USA too, the origin country of this kind of music.




"A Father's Dream" - the title of the DVD produced in 2004 - says everything about the congenial interplay between father and daughter.
Martin Pyrker, who is already more than 40 years on stage, ignited in 1972 the Boogie Woogie enthusiasm in Austria and produced the first Austrian Boogie Woogie record "Boogie Woogie Session'76" together with Hans Georg Möller and Axel Zwingenberger, which even was played in the charts of the Austrian radio program. 

This was the beginning of a growing enthusiasm for this kind of music in Austria and Germany and influenced further generations of young pianists.
More than 2000 performances and concerts, more than 100 own comopsitons and numerous tours (such as "Stars of Boogie Woogie") throughout Central Europe and the U.S. influenced since then Pyrker's musical career.

Since 1999 he is accompanied frequently by his daughter Sabine on the drums and on the "washboard". She can refer now to a professional career like that, too: Multiple "Prima La Musica" - winner, numerous tours with the Joachim Palden Trio
with Dana Gillespie and Betty Semper, drummer of her band "The Rocking Birds", solo concerts with classical percussion as well as member in the famous group of Martin Grubinger "The Percussive Planet Ensemble" for many years.

In their great demanded gigs with her father, she captivates the audience with professionalism, empathy and her charm. 
Each time it pulls the people off their seats when it states: "Drum the Boogie!"


Martin Pyrker - piano
Sabine Pyrker - drums, washboard



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