Northern Society For Jazz Study Vol.3 No.17 0012
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ï»¿Its famous son - LOUIS ARMSTRONG playod in all his glory -"Confossin*, J. C. HIGGINBOTHAM with "Dear Old Southland", and there were JAMES P. JOHNSON, LOUIS PRIMA* s N.O. BAND with FAZOLA prosent, BUNK JOHNSON, GEORGE LEWIS, ALPHONSE PICOU, SIDNEY BECHET and PAUL BARBARIN amongst others. Many it will bo soon included, but loft out last timo bocauso of Union trouble.
It would be a groat thing if seme recording could bo made of some such concert and bo put out solely for the financial gain of the foundation, by samo bo novo lent and sincere rocord company in Britain -
or is that too much to hope? _
NSJS is going ahead with its contribution in the meantime. For your part, bring it to tho notice cif every jazzman you know, and
through NSJS, contribution can be made, representative of the worth
of British enthusiasts. â ' _ -â .
Tho condonsod aims of "preserving and developing the history of jazz, to immortalise its creators, and to foster cojaâtemporaiy jazzmen and their music, with the establishing in New Orleans of a National Jazz Museum" - is an object every student worthy of the name, should be proud to follow. â¢______________________________________________
Continued from Page 21 (PETE JOHNSON)
Early 1939: "Boogie Woogie Prayer1* (Two sides) (Parlo, R2649)
AMMBNS, LEWIS and JOHNSON, Three pianos.
Early 1939: "Roll *Em Peten/nGoin* Away Bluesâ (R2672)
JOHNSON with JOE TURNER (Vocals).
"Boo Woo"/"Woo Woo" Harry James (tpt.) Ed.Doughterty , (drums) AMMONS & JOHNSON (piano) - sido of each red.
Same personnel and procedure "Home James "/"Jesse"
Col. DB5058 & DB5065 respectively, reissued on-Parlo. R2906 & R2911.
Early 1940: PETE JOHNSON & HIS B.W.BOYS (Â»LIPS* PAGE (tpt)
BUSTER SMITH (alto) LAWRENCE LUCIE (gtr.) ABE BOLAR (bass) ED. DOUGHERTY (drums) JOE TURNER (vcls.) â¢'
"Cherry Red"/"Baby, Look At You" (0K4997) - (PARLO. R2717) . '
AMMONS, LEWIS, JOHNSON (three pianos) TURNER vocals "Lovin* Mama Blues"/"Cafe S0ciety Rag" (OK 5186) (Parlo. R2947) " ' . .
7 March 1941: "Cuttin* The Boogie,l/,,Barrelhouso Boogie" (Duets with AMMONS, JIMMY HOSKINS - drums)* (H.M.V. B9251)
March 1943: "Basement Boogie "/"Death Ray Boogie" (Rrs.Oftftfe)
K . i
-f=^T In; TCSfSfy f
1Â£ 3> i & JiV\t >-SK. Piano Ke Â¿ea se
PETE JOHNSON is a Â»Kanoy* man, born and bred, thus contrasting sharply with nearly all the other most famous BOOGIE WOOGIE pianists whose headquarters wore CHICAGO. PETE was born in 1904 and started thumping out rhythm when a schoolboy - but on drums, for he loved the drummers prominent part in street parades. When ho was 18, however, he began to follow in the footsteps of his uncle CHARLES JOHNSON who was a well known pianist in -the 1930* s.
PETE didn* t go to college nor did he go to a recognised teacher to learn piano. Instead he listened and chattered to tho local pounders such as STACEY LA GUARDIA, âSLAMFOOT" BROWN, LEWIS 1 GOOD BOOTYÂ»
JOHNSON and NELLO EDGAR In the various joints in KanoyÂ» s night section, learning most in the smoky atmosphere of the Backbiters Club, and of course his uncle gave him a few tips too. Between them, these mentors did a grand job on young PETE who within "three years was getting quite a reputation, and more important to him, getting jobs in various night spots around town. Ho stayed a long time at tho *Hawiian Gardens", in fact until tho Â»cops* raided and closed it.
What a misnomer, few kinds of musics could have been less imbued with the dreamy magic of the south Seas than PETE* s solid pounding BOOGIE Woogie. At the Hawiian Gardens ho met a bartender by tho name of JOE TURNER who liked holloring the bluos. This he did with no frills and quite seme powor which suited PETE very well. S0 tho two young men formed a partnership which has not yet really broken up, though they have often workod apart these last few years.
Here it might be as well to montionod that to regard PETE JOHNSON merely as a Boogie Woogie pianist,, is a sorious mistake. Ho plays all stylos well, and oxools at Bluos (as distinct from Boogio) both as a soloist and accompanist. It is just a freak of businoss that tho ocords issued ovor horo are all more or loss in Boogie stylo. Ho has written ovor a hundred numbors cf all kinds.
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