domingo, 26 de febrero de 2017


       Los domingos por la tarde , ya sabéis : IT'S A BOOGIE WOOGIE TIME in Sentir el Blues.Hoy traemos a DAVID BOOGIE GIORCELLI en una de sus recientes actuaciones en el HONKY TONK BLUES BAR de Barcelona., aprovechando que esta tarde vuelve al Templo del Blues de la Ciudad Condal, (  en formato dúo  esta vez ) , tenéis la ocasión de verlo en directo en compañia de STER WAX, los que podáis ir , no lo dudéis ! .... para los que no puedan asistir , aquí tenéis una pequeña muestra de su música : 


foto de David Boogie Giorcelli.

Wax & Boogie (acústic)
Honky Tonk Blues Bar 
C/Finlàndia, 45 - 20:30h 

jueves, 16 de febrero de 2017

The FAMOUS DOOR * Nightclub *

   Resultat d'imatges de hollywoods famous door fats waller

The Famous Door nightclub stood on Vine Street, Hollywood, some time in the 1930s. Apparently, they were very proud of the fact that Fats Waller came to play there. This Famous Door was a west coast incarnation of the Famous Door jazz nightclub which was at several locations along West 52nd Street in New York.

domingo, 12 de febrero de 2017

BILL WYMAN & CHARLIE WATTS Playing Boogie Woogie !

Resultat d'imatges de just for a thrill bill wyman's rhythm kings CREDITS

    Esta tarde nuestro espacio de Boogie Woogie va dedicado principalmente a BILL WYMAN, y a Charlie Watts, dos músicos que todos conocéis , aunque quizá no en esta faceta !! 

     Como podréis ver en los videos en ambos casos lo hacen acompañando a grandes pianistas de sobra conocidos 

      Ladys and gentlemen Please enjoy !! SUNDAY AFTERNOON It´s a BOOGIE WOOGIE TIME !! 





Roll 'Em Pete
Backing Vocals – Beverley Skeete, Linzi Hunter
Bass – Bill Wyman
Drums – Graham Broad
Guitar, Backing Vocals – Terry Taylor (3)
Horns – Frank Mead, Nick Payn
Piano – Axel Zwingenberger
Trumpet – Sid Gould*
Vocals – Mike Sanchez

Written-By – Turner*, Johnson*

domingo, 5 de febrero de 2017


Resultat d'imatges de robert roth BOOGIE WOOGIE

Robert Roth és un pianista austríac  de Boogie Woogie de Mieming al Tirol. Després d'una greu malaltia que afortunadsment va superar al 2008  va decidir dedicarse al  boogie woogie i es va fer  pianista.   Autodidacta,  va portar a l'estil de música que està plena de vitalitat i no , només això, sino que  va organitzar  anys més tard el seu propi Festival de Boogie Woogie. 

A la seva ciutat natal de Mieming i des del 2014 a la Vall de l'Inn organitza  sempre a principis d'abril, que anomena com ell mateix  Robert Roth Festival de Boogie. 




Resultat d'imatges de robert roth boogie piano 2016

LUCA SESTAK & LUCIEN OISEL * 2015 UK Boogie Woogie Festival *

Resultat d'imatges de 2015 UK Boogie Woogie Festival : Luca Sestak and Lucien Oisel
    LUCA SESTAK  & LUCIEN OISEL  , ocupan hoy nuestro espacio Sunday afternoon it`s a Boogie Woogie Time in Sentir el Blues., dos de los más jóvenes intérpretes que siguen con la tradición del género ............... 



Video/Movie Clip recorded at the 11th Annual UK Boogie Woogie Festival, held in the small rural Dorset Town of Sturminster Newton, July 2015.

Two great young pianists Luca Sestak {Germany} and Lucien Oisel {France} showcasing their fantastic piano playing talents at firstly, the Sunday Finale Concert and also the lively late night aftershow session on Saturday night, both at the Royal British Legion in Sturminster Newton.

sábado, 4 de febrero de 2017


         Resultat d'imatges de DUKE HENDERSON

Sylvester C. Henderson (April 5, 1925 – April 9, 1973), known as Duke Henderson,was an American blues shouter and jazz singer in the mid-1940s. His styles included West Coast blues and jump blues. In the late 1940s he renounced his past and began broadcasting as a minister and gospel DJ. He eventually became a preacher.

Apparently born in Liberty, Missouri, Henderson lived in Los Angeles, California, from the 1940s.] In 1945, he made his debut recordings with the New York based Apollo label. Jack McVea recommended Henderson to the label, and he was backed on the recording dates by several notable Los Angeles session musicians. These included McVea, Wild Bill Moore and Lucky Thompson (saxophones), Gene Phillips (guitar), Shifty Henry and Charlie Mingus (bass violin), plus Lee Young and Rabon Tarrant (drums). The recordings were not a commercial success and Henderson lost his recording contract with Apollo.

In 1947, Al "Cake" Wichard recorded for Modern Records billed as the Al Wichard Sextette, and featured vocals by Henderson.Henderson subsequently recorded material for a number of labels over several years. His work was released by Globe, Down Beat, Swing Time, Specialty ("Country Girl" b/w "Lucy Brown", October 1952), Modern, and Imperial. Henderson ended up at Flair Records, where his 1953 release, "Hey Mr. Kinsey", was billed as recorded by Big Duke, and displayed a knowledge of the then current thinking on human sexual activity.
Later in the decade, Henderson renounced his past, and commenced broadcasting on XERB billed as Brother Henderson. His ministerial gospel DJ career there was short-lived, although the radio station was later utilised by Wolfman Jack. In the late 1950s Henderson broadcast with KPOP in Los Angeles. After his DJ career, Henderson went on to become a preacher at Bethany Apostle Community Church.

In February 1959, Billboard reported that Proverb Records was being jointly formed by Brother Henderson. By 1964 its subsidiary label, Gospel Corner, was initiated.
Henderson died in Los Angeles in 1973, though some sources state 1972.

In 1994, Delmark issued a compilation CD, containing 20 tracks from Henderson's late 1945 Apollo recordings.





miércoles, 1 de febrero de 2017


Curiosamente  PETE JOHNSON uno de los " Monstruos " del Boogie Woogie no tiene ningún post en este Blog dedicado al género, ( como alguno más de sus colegas ) si en cambio lo podéis encontrar en . Hoy le dedicamos el lugar que se merece en Boogie Woogie Time ! .



Resultat d'imatges de pete johnson



Pete Johnson (born Kermit H. Johnson, March 25, 1904 – March 23, 1967) was an American boogie-woogie and jazz pianist.

Journalist Tony Russell stated in his book The Blues – From Robert Johnson to Robert Cray that "Johnson shared with the other members of the 'Boogie Woogie Trio' the technical virtuosity and melodic fertility that can make this the most exciting of all piano music styles, but he was more comfortable than Meade Lux Lewis in a band setting; and as an accompanist, unlike Lewis or Albert Ammons, he could sparkle but not outshine his singing partner".Fellow journalist Scott Yanow (Allmusic) added "Johnson was one of the three great boogie-woogie pianists (along with Lewis and Ammons) whose sudden prominence in the late 1930s helped make the style very popular".

Johnson was born in Kansas City, Missouri. He was raised by his mother after his father deserted the family. Things got so bad financially, Pete was placed in an orphanage when he was three. He became so homesick, however, that he ran away and returned living at home. By the age of 12, he sought out work to ease some of the financial burden at home. He worked various jobs; in a factory, a print shop, and as a shoe-shiner. He dropped out of school in the fifth grade as a result of his efforts.
Johnson began his musical career in 1922 as a drummer in Kansas City. He began piano about the same time he was learning the drums. His early piano practices took place in a church, where he was working as a water boy for a construction company. From 1926 to 1938 he worked as a pianist, often working with Big Joe Turner. An encounter with record producer John Hammond in 1936 led to an engagement at the Famous Door in New York City. In 1938 Johnson and Turner appeared in the From Spirituals to Swing concert at Carnegie Hall. After this show the popularity of the boogie-woogie style was on the upswing. Johnson worked locally and toured and recorded with Turner, Meade Lux Lewis, and Albert Ammons during this period. Lewis, Ammons, and Johnson appeared in the film short Boogie-Woogie Dream in 1941.

The song "Roll 'Em Pete" (composed by Johnson and Turner), featuring Turner on vocals and Johnson on piano, was one of the first rock and roll records. Another self-referential title was their "Johnson and Turner Blues." In 1949, he also wrote and recorded "Rocket 88 Boogie," a two-sided instrumental, which influenced the 1951 Ike Turner hit, "Rocket 88".

In the late 1940s, Johnson recorded an early concept album, House Rent Party, in which he starts out playing alone, supposedly in a new empty house, and is joined there by J. C. Higgenbotham, J. C. Heard, and other Kansas City players. Each has a solo single backed by Johnson, and then the whole group plays a jam session together. On this album Johnson shows his considerable command of stride piano and his ability to work with a group.

At a nightclub in Niagara Falls, the piano was on a platform above the bar, and Johnson had to climb a ladder to get there.

In 1950 he moved to Buffalo. He encountered some health and financial problems in this period, including losing part of a finger in an accident and being partially paralyzed by a stroke. Between January and October 1953 he was employed by an ice cream company washing trucks, but supplemented his income by performing in a trio which played at the Bamboo Room in Buffalo on weekends. Johnson experienced more of the same the following year, 1954. He washed cars at a mortuary for $25 a week. In July, however, a nice job came his way at the St. Louis Forest Park Hotel, a six-week engagement as resident pianist at the Circus Snack Bar. Some broadcasts were made on Saturday afternoons in a program called Saturday at the Chase. Johnson was also privately recorded July 20 and August 1 at a pair of house parties arranged at the home of Bill Atkinson, a close friend (in print as of this writing). Things remained somewhat bleak for the next four years, except for three appearances in 1955 at the Berkshire Music Barn in Lenox, MA. But he continued to record, and toured Europe in 1958 with the Jazz at the Philharmonic ensemble, despite the fact that he was not feeling well.While in Europe he received an invitation to appear at the Newport Jazz Festival, which he did upon his return to the States, accompanying Big Joe Turner, Chuck Berry and Big Maybelle. Johnson underwent a physical examination in August which revealed a heart condition as well as diabetes. Several strokes followed, resulting in complete loss of mobility in both hands. Four years after the series of strokes he was still disabled and was beginning to lose his eyesight. Jazz Report magazine ran a series of record auctions to raise money for Pete. In 1964, a longtime correspondent of Johnson's, Hans Maurer, published The Pete Johnson Story. All sales proceeds went to Pete. After an article appeared in a 1964 issue of Blues Unlimited detailing Johnson's difficulty in receiving royalty payments other than from Blue Note and Victor, in June Pete was accepted as a member of ASCAP, which finally ensured that some of the royalties would be received on a regular basis.

His final live appearance was the Spirituals to Swing concert at Carnegie Hall in January 1967, his eighth and final appearance at this event. A review of the concert by Dan Morgenstern of Down Beat: "Then for the concert's most moving moment, Lieberson (the MC) escorted Pete Johnson on stage and introduced him as one of the participants in the original Spirituals to Swing and the greatest boogie-woogie pianist. Johnson had suffered a series of paralytic strokes and had not played piano for many years. His old buddy, Turner, took him by the hand, and for a moment the two middle-aged men looked touchingly like little boys. Turner dedicated 'Roll 'Em Pete' to his old friend, as Lieberson and Johnson were about to leave the stage. Instead, they stopped and the pianist seated himself next to Bryant at the piano and began to play the treble part of his old showpiece, Bryant handling the bass. Johnson was a bit shaky but game, gaining in confidence as the number built in intensity." Pete Johnson died two months later in Meyer Hospital, Buffalo, New York, in March 1967, at the age of 62 

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