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Boogie Woogie

Boogie Woogie

Boogie Woogie is a dance music genre derived or related to various forms of music like the blues, jazz, and particularly stride piano and ragtime in the early 20th century. The consensus among some musicologists is that the style of piano started in northeast Texas as early as the 1870s particularly in the Piney Woods among the lumber and turpentine camps as well as the Harrison and Marshall Counties in Texas. The polyrhythmic sound and cadence of Boogie Woogie (then called “Fast Western” music) was influenced by the “Texas Western Railroad Company” workers.

The origins of the term Boogie Woogie are unknown, though it is believed to have come from certain African dialects. The blues musician Blind Lemon Jefferson referred to the bass figure of the music style as “Booga Rooga”. The style of piano music was heard and then acquired by musicians early in the 20th century by the likes of Jelly Roll Morton as piano music and then was acquired by many Texan guitarists like Lead Belly (who knew Blind Lemon Jefferson).

Later, during the mass migration of African Americans from the south up to the north western cities, the music became known also as house-rent party music. These “rent parties” started as a way for black renters to meet the monthly rent payments when many were suffering from poverty and unemployment. This became a common practice in the late 19th century up through to the mid-20th century in the cities up and down the Mississippi river (in particular, St. Louis and of course Chicago). These rent parties had the effect of incubating great forms of African American music like ragtime, Stride, Jazz and Boogie Woogie.

Boogie Woogie started out primarily as piano music (as solo piano, duet and even triplet pianos) where it was easily played in the juke joints, barrel houses, bar rooms of the rural south and then later, in rented apartments in the urban cities of the mid-west.

As the migration continued up the Mississippi river, Chicago became the hub of boogie woogie music, as well as all the other contemporary forms of music; Jazz, Ragtime, Urban Blues and Stride in the decades before and including the Roaring 20s. Boogie Woogie then was being played by guitars and small and larger jazz combos that used trumpet(s), trombone(s), of course piano, stringed double bass and drums.

The first hit song of Boogie Woogie was a tune called “Pine Top’s Boogie Woogie”, which hit #20 on the charts in February of 1929 by Pine Top Smith. He lived only a month after his hit when he was shot at age 24 in a night club. This might have prompted Elton John’s album titled “Don’t Shoot Me, I’m Just the Piano Player”, which was said to be a comeback joke between Groucho Marx and Elton.

Hersal and George Thomas from Texas who migrated to Chicago are cited as being very influential in the 2nd & 3rd decades of the 20th century (1910s-1920s) with the piece “The Fives”. “The Fives” had most of the modern bass figures in it such as the walking, shuffle and chordal bass, as well as broken octaves (used in ragtime stride). The Fives are considered the first use of Boogie Woogie in a jazz band as found in Joseph Samuels’ Tampa Blue Jazz Band in 1923.

Later on, in the 30s piano artists like Jimmy Yancey who influenced Meade Lux Lewis, Albert Ammons and Pete Johnson, who would all carry the torch of Boogie Woogie into the 1940s. Incidentally, Jimmy Yancey wouldn’t record a song until 1939 when he caused a stir with his unique light-handed style. Meade Lux Lewis recorded “Honky Tonk Train Blues”, released in 1930. Albert Ammons was influential with the song “Boogie Woogie Stomp” in 1936. Pete Johnson (who played with Big Joe Turner) had an influential record with the 12-bar blues, Boogie Woogie style “Roll ‘Em Pete” released in 1938 and considered one of the first Rock & Roll records, if not a precursor to the future genre.

Pine Top influenced Jimmy Dorsey, the big band leader, who recorded a version of Pine Top’s Boogie called simply “Boogie Woogie”, a #3 hit (with a million sales) in 1938 which re-entered the charts in 1943, 1944 and 1945 during the revival Boogie Woogie craze.

The Boogie Woogie Revival

The Boogie Woogie Revival

Boogie Woogie would experience a revival in 1938-39, culminating in Columbia Records, John Hammond produced popular records “From Spirituals to Swing” concerts which were recorded on two occasions in Carnegie Hall. This propelled a renewed Boogie Woogie craze that would last well into the 1940s.

“From Spirituals to Swing” recordings featured Jimmy Yancey, Albert Ammons and the song “Swanee River Boogie”, Meade Lux Lewis and his hit song “Freight Train Blues” and of course Pete Johnson’s and Big Joe Turner’s “Roll ‘Em Pete” made the concerts and accompanying records very successful. The night clubs in New York City, especially on 52nd Street, gave way to the Boogie Woogie craze in the 40s.

This had a big influential effect on Swing Jazz, as many big bands started incorporating Boogie Woogie tunes into their sets. The Will Bradley Orchestra had a string of hits with the original version of “Beat Me, Daddy, Eight to the Bar” hitting #2, and also another #2 hit with “Scrub Me Mama, With A Boogie Beat” and the #10 “Down the Road A Piece”, all with Ray McKinley singing and all in 1940 spilling into 1941.

Glenn Miller had a hit in 1940 with the #7 hit “Boog It”. The Andrews Sisters had several Boogie Woogie hits like the late 1940 #2 hit “Beat Me, Daddy, Eight to the Bar” and the famous pre-World War II hit “Boogie Woogie Bugle Boy” in 1941. The Boogie Woogie craze was fueled by the fact that the Lindy Hop and the Jitterbug dances were very compatible with the boogie “beat”.

Lionel Hampton, one of the three “Fathers” of Jump Blues and R&B (as well as Count Basie and Louis Jordan) had a string of boogie hits, including the 1944, #23 hit “Hamp’s Boogie Woogie” and the 1946, #9 hit “Hey! Ba-Ba-Re-Bop”, which became very popular. Louis Jordan, had a string of boogie hits starting with the #6 “Caldonia Boogie” in 1945, the #7 hit “Choo Choo Ch’ Boogie” just to name a few. Count Basie also had several boogie hits such as the b-side, #10 hit “Mad Boogie” in 1946.

At the same time, many C&W (Country & Western) artists had hits in the boogie styled derivative genres called Country Boogie, Hillbilly Boogie or Western Boogie. Remember boogie started in Texas. These were precursors to Rockabilly. Johnny Barfield had a hit record with a “Boogie Woogie” in 1939. Ella Mae Morse and Freddie Slack had a million plus seller with the Benny Carter/Gene DePaul/Don Raye penned #9 hit “Cow Cow Boogie” in 1942.

The Delmore Brothers had a boogie hit with “Freight Train Boogie” which was also very influential to Rock & Roll and Rockabilly. Arthur Smith & His Cracker Jacks had several Country Boogie hits, such as the #25 crossover electric guitar hit “Guitar Boogie” in 1948 as well as the C&W hit “Banjo Boogie”. Tennessee Ernie Ford had a boogie hit with the #15 crossover hit “Shot Gun Boogie” in 1951.

And also, we can’t forget that Bill Haley started out his career as a C&W artist as “Bill Haley and The Saddlemen” before going Rock & Roll with “The Comets”. He recorded several Country Boogies like “Green Tree Boogie” in 1951, as well as the C&W (Rockabilly) version of Ike Turner’s “Rocket 88” (a couple of months after the original R&B release). Bill Haley & the Saddlemen then released “Sundown Boogie” in 1952 as well as a cover of Jimmy Preston’s “Rock This Joint” which was considered to be the first Rockabilly song.