Boogie-woogie

Among its most famous acts was the "Boogie Woogie Trio" of Pete Johnson, Albert Ammons, and Meade "Lux" Lewis.

There were also many very notable women boogie woogie pianists during this time, including Hadda Brooks, Winifred Atwell, Martha Davis, and Hazel Scott, as well as in later years, such as Katie Webster.

For the most part, boogie-woogie tunes are twelve-bar blues, although the style has been applied to popular songs such as "Swanee River" and hymns such as "Just a Closer Walk with Thee".

Blind Lemon Jefferson used the term "Booga Rooga" to refer to a guitar bass figure that he used in "Match Box Blues".

Texas, as the state of origin, became reinforced by Jelly Roll Morton, who said he heard the boogie piano style there early in the 20th century, as did Leadbelly and Bunk Johnson, according to Rosetta Reitz.

And all the Old-time Texans, black or white, are agreed that boogie piano players were first heard in the lumber and turpentine camps, where nobody was at home at all.

[1]Max Harrison (in the book Jazz edited by Hentoff and McCarthy in 1959) and Mack McCormick (in the liner notes to his Treasury of Field Recordings, Vol.

At these gatherings the ragtime and blues boys could easily tell from what section of the country a man came, even going so far as to name the town, by his interpretation of a piece.

Rather, the first railroad locomotives and iron rails were brought to northeast Texas via steamboats from New Orleans via the Mississippi and Red Rivers and Caddo Lake to Swanson's Landing, located on the Louisiana–Texas state line.

The sudden appearance of steam locomotives and the building of mainline tracks and tap lines to serve logging operations was pivotal to the creation of the music in terms of its sound and rhythm.

It was also crucial to the rapid migration of the musical style from the rural barrel house camps to the cities and towns served by the Texas and Pacific Railway Company.

[3]Paul Oliver also wrote that George W. Thomas "composed the theme of the New Orleans Hop Scop Blues—in spite of its title—based on the blues he had heard played by the pianists of East Texas.

[21] The remaining bass lines rise in complexity with distance from Marshall, Texas as one would expect variations and innovations would occur as the territory in which the music has been introduced expands.

In January 2010, John Tennison summarized his research into the origins of boogie-woogie with the conclusion that Marshall, Texas is "the municipality whose boundaries are most likely to encompass or be closest to the point on the map which is the geographic center of gravity for all instances of Boogie Woogie performance between 1870 and 1880".

Boogie-woogie gained further public attention in 1938, thanks to the From Spirituals to Swing concert in Carnegie Hall promoted by record producer John Hammond.

These three pianists, with Turner, took up residence in the Café Society night club in New York City where they were popular with the sophisticated set.

The popularity of the Carnegie Hall concert meant work for many of the fellow boogie players and also led to the adaptation of boogie-woogie sounds to many other forms of music.

These included most famously, in the big-band genre, the ubiquitous "Boogie Woogie Bugle Boy", which was revamped by Christina Aguilera as her 2006 hit, "Candyman".

[25] The boogie-woogie fad lasted from the late 1930s into the early 1950s,[26] and made a major contribution to the development of jump blues and ultimately to rock and roll, epitomized by Fats Domino, Little Richard and Jerry Lee Lewis.

Big Joe Duskin displayed on his 1979 album, Cincinnati Stomp, a command of piano blues and boogie-woogie, which he had absorbed at first hand in the 1940s from Albert Ammons and Pete Johnson.

[28] In addition, some tradition-minded country artists, such as Asleep at the Wheel, Merle Haggard, and George Strait, incorporated boogie-woogie in their recordings.

In Western classical music, the composer Conlon Nancarrow was also deeply influenced by boogie-woogie, as many of his early works for player piano demonstrate.

In 1943, Morton Gould composed "Boogie-Woogie Etude" for classical pianist José Iturbi, who premiered and recorded it that year.

Twenty-first-century commentators have also noted the characteristics of boogie-woogie in the third variation of the second movement of Ludwig van Beethoven's Piano Sonata No.