Youtube Tommy Dorsey Boogie Woogie

Tommy Dorsey Boogie Boogie Woogie Youtube

from "Pinetop's Boogie Woogie" by Tommy Dorsey's Orchestra) until they submit to the hillbilly and jump blues strings. I think it was the first boogie woogie of my life: I play with the orchestras of Jimmy Lunceford, Benny Goodman, Tommy Dorsey, Artie Shaw, Glenn Miller. to a percussive handling of the keyboard, the masters of boogie woogie. Located at Greyhound bus station @ youtube.

Tuballomagazin n°5| Boogie Woogie Woogie

When I tell you to back off, you don't move. If I tell you to get it, I want you to go to boogie woogie! First verse of the song Pinetop's Boogie Woogie by Pinetop Smith, in which, as in many songs of the time, you give short instructions on how to perform the dance.

"Pinetop's Boogie Woogie", the first verses of the songs were often instructions for performing the dance.

Contributions to Swing & Social Dance

Beautiful article (2017?) about the Boogie Woogie. http://www.musicaddiction.it/.../m.../boogie-woogie-renaissance/.../m.../boogie-woogie-renaissance/ "We know above all the secret at the foot of the Boogie. Until the 30's the term boogie was not used very much, they preferred the term "Fast Western". Customs clearance took place with a series of concerts at Carnegie Hall organized between 1938 and 1938 by Jo...hn Hammond with Big Joe Turner, Pete Johnson, Albert Ammons and Meade Lux Lewis (all students and friends of Pinetop Smith).

The tour entitled From Spirits to Swing marked the high point of the boogie season and its end...with the beginning of swings, The Boogie Woogie revolution seemed to stop and was finally swallowed up by the polyphonies and unison of the big bands (although one of the most famous pieces of swings was the repetition of "Pinetop's Boogie Woogie" by Tommy Dorsey's orchestra) until it submitted to the hillside and platform blues strand.

But if the nostalgic music of the 2000s was able to regain the pre-war folk, swings and traditional Blues, why can't it focus on Boogie? Revivalists, passers-by and musicologists would, as usual, need more concrete signals to admit it than other logical and historical passers-by, but the point is clear: this should be the time of the return of the boogie-woogie.

Is that Fratello Ray, the dovecote? - minutes&moralia : minutes&moralia

The second year of school was a completely different story. The school staff collected a collection and was able to collect enough money to pay for my return home. Once, however, I was almost thrown out of school for something I did during one of these lessons.

The music teacher, Miss Mallard, asked me to do my exercise. Beene: The pink fleece has met Mrs. Mallard immensely. I probably only responded to someone who had endangered the most valuable part of my body; I knew that hands were necessary to play. He told headmaster Dr. Settles, who almost kicked me in the ass and sent me back to Mother's.

When Miss Mallard realized what Dr. Settles was up to, she intervened in my defense. But you can see how important the piano was to me when I was eight years old. I knew what a real blue voice was and what boogie woogie was. I knew what the jazzpiano was. On the musical level I was founded at a time when there were no compromises: either you knew how to play your instrument or you didn't know how to play it.

I wasn't allowed to play boogie woogie or blue in school. We may have heard the dirtiest music alone, but it was not tolerated during class. I can assure you that all three of my teachers - Miss Ryan, Miss Mallard and Mrs. Lawrence - loved the blues.

On the menu I saw that there was a steak and I asked the manager why we ate food for white people. Although there was nothing homemade in the music I had learned at school, the whole music fascinated me. I was happy every time I could play motifs I heard for the first time. At school we had a big boys and of course the big guys controlled it: people like James Kendrick who was a real power, Otis Mathews and James Young.

I learned the pieces from Glenn Miller and all the beautiful things from Tommy Dorsey, Glen Gray and Benny Goodman. Well, they didn't send the muddy Mississippi blues to the radios. This music could only be found on the so-called racing record. I was inspired by Shaw when I started playing the clarinet when I was about ten years old, and Gramercy Five was one of the first bands outside the huge big bands to earn my respect.

There were three pianos at school: one in the girls' gymnastics room, one in the boys' room and the last, the best in the chapel. Even in school, there was someone who could play it right. Joe Lee Lawrence. He was one of the older guys and believe me, the piano really knew how to play it.

Of course, Joe Lee didn't play at all on the level of Tatum at all - and who could? Anyone who could play at least a little bit like Tatum I thought was great. For my generation, Tatum was the best piano ever made.

I have to say that even when I was pretty good at the piano, I knew that I wasn't even worth bringing him a shit-filled Tatum style Pital. I loved how the standards sounded and knew that they could play the really dirty blue if they wanted to. The Sapeva suite qualitative cosa. Aye. Not long after that I found myself doing the same thing again: "Honky Tonk Train" or "Beat Me Daddy" playing with the kids around me.

You will understand that after school all this had to be done secretly in the training rooms without a teacher nearby. At that time in school I was very sociable, even though I was shy with people I didn't know. You have to remember that music was the most popular in the south of the county - we called itillbilly music - and I don't remember a single Saturday night when I didn't hear the Grand Ole Opry on the air.

I wasn't a fan of her music, but I liked her and followed her. At the same time I have not lost interest in the big white ribbons: Dorsey, Miller, Goodman, Krupa, Shaw. And of course I knew the big black bands: Jay McShann and Jimmie Lunceford, Lucky Millinder, Buddy Johnson, Basie, Ellington and later Billy Eckstine, whose version of "Blowing the Blues Away" is a piece I still play.

Hibbler with Herzog, Ella with Chuck Webb or to sing Inkspots: It was music that hit my heart. This woman's voice had a soft tone that I liked; there was something charming about her style. I knew how to play rock music. But it was another man who changed my life with his way of singing and playing the piano.

I stole a lot of his piano tricks. Yes, of course he played sweet motifs and catchy melodies, but if he wanted, he could produce the blackest Blues ever. Later, when the pop exploded in the 1940s, he also knew how to play it. Yeah, Nat Cole knew how to play the piano, that's all.

Nobody could accompany himself like Nat Cole: That is another of his qualities. No, sir, that the little piano things with which he filled the voids behind his voice were little jewels: always in taste, always clear, always monstrously original. I was also aware of how popular Nat Cole was in the 1940s, that everyone loved him and that playing this kind of music made real money.

His style was not mine, my style would emerge years later, but what he had was a combination of many of the things I loved: jazzy improvisation, beautiful melodies, wild rhythms and occasionally a hint of blue. Other pianists and singers who influenced me were part of this school: for example Charles Brown at the beginning of my career, especially when I was working in Florida.

I made a lot of money imitating his drifting blues. So, between that and the jazzy stuff I learned at Joe Lee Lawrence's school, my music took shape.

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