Archive for the ‘Boogie Woogie’ Category

Author: Cow Cow Davenport

Source: The Jazz Record, n° 5, April 15, 1943

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“The word “Boogie” was derived from our old grandmothers’ use of the word meaning the devil. When the kids broke the rules in any way such as fighting, running away or disobeying in any way we were told that the ” Boogie man” was going to get us. The blues was considered bad music as it usually alluded to love affairs. In those days, only the lowest class of people in the towns, or people who were known to be without self-respect, would dare to be heard singing the blues.”

CONTINUE READING HERE

Author: Art Hodes

Source: Jazz Journal May 1959, p. 10-12

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Arthur W. Hodes (1904-1993) known professionally as Art Hodes, was an American jazz pianist. Born in Ukraine,  he  settled with his family in Chicago, Illinois when he was a few months old. His career began in Chicago clubs, but he did not gain wider attention until moving to New York City in 1938. In that city he played with Sidney Bechet, Joe Marsala, and Mezz Mezzrow.

Later Hodes founded his own band in the 1940s and it would be associated with his home town of Chicago. He and his band played mostly in that area for the next forty years.

Read HERE an article he wrote in 1959 on Cow Cow Davenport

Author: Cow Cow Davenport

Source: The Jazz Record, December 1944

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“When I was a boy down in Alabama, the people who played music played only guitars. The guitars were carried swung on the neck with a long string, and people called them easy riders. My father didn’t like that idea of his son being an easy rider so he wouldn’t let me learn music. In those days the musicians had all the girls, and daddy despised it; so he didn’t allow me to play in his house. He had purchased a piano, though. My mother was pianist for a church they organized. My mother admired me because I could play, and my daddy hated me because I could play. He was going to make out of me what he wanted me to be, that was a pread1er. He sent me to Selma University, a Baptist college in Alabama.”

CONTINUE READING HERE

Author: Karl Gert zur Heide

Source: Doctor Jazz Magazine 205, June 2009

(http://www.doctorjazz.nl/data/data/djm205.html)

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« For a blues fan, Cow Cow Davenport is a household name, and his « Cow Cow Blues » is a blues classic. Like jazz icon Jelly Roll Morton (1890-1941), Davenport (1894/95-1955) came from the Deep South of the USA, worked as a comedian, sang and played piano, composed songs and instrumentals, entertained in brothels, and was associated with women who could also sing the blues. Both men made some of their best recordings by cutting piano rolls for the Vocalstyle company in Cincinnati – Morton in 1924, Davenport in 1925/1926.
Besides their association with “the life” (in red-light districts), they shared another habit: crisscrossing the country and the barrelhouse circuit and with vaudeville acts and minstrel shows. This essay will throw more light on the tent-show aspect of Davenport’s career.”

CONTINUE READING HERE

Author: Gerald E. Brennan

Source: http://www.musicianguide.com/biographies/1608002417/Little-Brother-Montgomery.html

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“Little Brother Montgomery was one of the most versatile pianists to emerge from the blues. Although he never achieved the fame of musicians like Roosevelt Sykes, Sunnyland Slim, or Otis Spann all of whose playing was shaped early on by contact with Montgomery he was as comfortable playing New Orleans jazz or boogie-woogie as straight blues. His career in music stretched from the earliest years of recorded blues in the 1920s until the mid-1980s. But his playing, in particular his unaccompanied piano work, possesses timelessness, virtuosity, a serenity rare in any music. Little Brother Montgomery performances, right up until his death in 1985, were much more than mere blues shows. They transported the listener back to the New Orleans of the 1920s and made that old music sound as fresh as when it was first invented.”

CONTINUE READING HERE

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Author: Alex van der Tuuk
Source: B&R, 10, 217 (paramountshome.org/articles/BR217%20Spand)

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Charlie Spand was an American blues and boogie-woogie pianist and singer, noted for his barrelhouse style. Spand is seen as one of the seminal piano players of the 1920s.

Read an article by A. van der Tuuk HERE

http://www.bluesandrhythm.co.uk/

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Authors: Michael Hortig & Erick Trickey

Source: B&R, 266, 16

Kindly sent to me by the author Michael Hortig

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Arthur “Montana” Taylor (1903-1954) was an American boogie-woogie pianist best known for his recordings in the 1940s and regarded as the leading exponent of the “barrelhouse” style of playing 

The article, which you can read HERE, reveals some new facts about his later life – and some new mysteries.

http://www.bluesandrhythm.co.uk/

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