The Story of Boogie-Woogie: A Left Hand Like God, 2nd by Peter J. Silvester

By Peter J. Silvester

The tale of Boogie-Woogie: A Left Hand Like God examines the socio-historical heritage of the boogie-woogie piano kind, from its early appearances within the barrelhouses of lumber, turpentine, and railroad camps within the southern usa, to its emergence at lease events in Chicago and St. Louis, to its upward push as a well-liked kind of track within the nightclubs of latest York, to its prestige as a world craze in the course of global struggle II. during this more desirable revision of A Left Hand Like God, Peter J. Silvester provides a finished heritage of boogie-woogie, describing the style's visual appeal and improvement, its offshoots, and the pianists who made it recognized, and learning its effect on rhythm and blues, city blues, and massive band swing, resulting in the eventual revival of _classical_ boogie-woogie in live shows and fairs. Silvester discusses major ecu and American pianists of boogie-woogie all through background, offering biographical information regarding their lifestyles kinds and musical impacts and supplying an research in their very important recordings. The e-book additionally incorporates a new bankruptcy at the contribution of nationwide and self sufficient list businesses to the recording of boogie-woogie tune. a radical bibliography and a last appendix offering the various bass styles universal in boogie-woogie make this a necessary reference.

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Rolling down the embankment and dusting himself down, he watches the receding train, secure in his anonymity. The wonderfully evocative recording by this little-known pianist illustrates the significance of this form of transport for pianists and how it acted as an inspiration for their music. The Santa Fe railroad, with a main line running north from Galveston and Houston through Texas into Oklahoma, which, together with its side lines branching off to the east and the west, claimed to serve eighty-eight Texas counties.

2. Although essentially a male preserve, the lumber industry witnessed large numbers of women entering its employment for the period of the First World War. At this time, 125,000 women were employed throughout the southern states in all the various jobs necessitated by the timber business: light tasks in the sawmills and heavier work in the forest camps; on occasion black women even swung the axe and pushed and pulled on the crosscut saw in actually felling the tree. 3. C. H. Wesley, Negro Labor in the United States, 1850–1925 (New York: Vanguard, 1927), 315–17.

Harbinson’s explanation of Blake’s reference to “sixteen” suggests that ragtime is notated in 2/4 time, with the left hand playing the standard accompaniment of four quavers to the bar. This he interprets Blake as meaning: That is, the left hand plays eight notes to the bar, but because of the 2/4 rotation, they are sixteenth notes (semiquavers). (Also, two of the standard walking basses use patterns consisting of sixteen actual notes—eight in the first bar walking up, and eight in the second bar walking down.

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The Story of Boogie-Woogie: A Left Hand Like God, 2nd by Peter J. Silvester
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