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      "description" => "<p><p align=justify>&Agrave; la fin des ann&eacute;es 30, l&rsquo;Am&eacute;rique se prend d&rsquo;une v&eacute;ritable folie pour le boogie : c&rsquo;est la &ldquo;boogie-woogie craze&rdquo;, une d&eacute;cennie extraordinaire qui voit jazz, swing, blues et R&amp;B vibrer au rythme irr&eacute;sistible des plus grands pianistes du genre. Les 42 titres de cette anthologie (dot&eacute;e d'un livret de 48 pages illustr&eacute; de 33 photos), choisis par Jean Buzelin, en sont une illustration parfaite.<br /><strong>Patrick Fr&eacute;meaux<br /></strong>PETE JOHNSON &amp; BIG JOE TURNER : It&rsquo;s All Right Baby &bull; PETE JOHNSON : Kaycee Feeling &bull; ALBERT AMMONS : Albert&rsquo;s Special Boogie &bull; MEADE LUX LEWIS : Medium Boogie &bull; JIMMY YANCEY : Shave &lsquo;em Dry &bull; JIMMY YANCEY : White Sox Stomp &bull; SAMMY PRICE &amp; BEA BOOZE : Mr. Freddie&rsquo;s Blues &bull; MONTANA TAYLOR : Indiana Avenue Stomp &bull; EARL HINES : Boogie Woogie On Saint-Louis Blues &bull; NAT KING COLE : Boogie A La King &bull; ART TATUM : Tatum Pole Boogie &bull; GENE RODGERS : G.R. Boogie &bull; DOROTHY DONEGAN : Piano Boogie &bull; HAZEL SCOTT : Hazel&rsquo;s Boogie Woogie &bull; ERROLL GARNER : Boogie Woogie Boogie &bull; MARTHA DAVIS : Player Piano Boogie &bull; OSCAR PETERSON : Oscar&rsquo;s Boogie &bull; ERSKINE BUTTERFIELD : Boogie Woogie Barcarolle &bull; ALBERT AMMONS : Oh! Lady Be Good &bull; SUGAR CHILE ROBINSON : Numbers Boogie &bull; MEADE LUX LEWIS : Bush Street Boogie &bull; AMOS MILBURN : My Baby&rsquo;s Boogying &bull; AMOS MILBURN : Amos Boogie &bull; HADDA BROOKS : Swingin&rsquo; The Boogie &bull; CHARLES BROWN : Blazer&rsquo;s Boogie &bull; CECIL GANT : New Cecil Boogie &bull; CECIL GANT : Syncopated Boogie &bull; JAY McSHANN : Hootie Boogie &bull; PETE JOHNSON : Sunset Romp &bull; SAMMY PRICE : Sammy&rsquo;s Boogie &bull; LITTLE BROTHER MONTGOMERY : Shreveport Farewell &bull; CHAMPION JACK DUPREE : Cabbage Greens N&deg;1 &bull; BIG MACEO : Chicago Breakdown &bull; ROOSEVELT SYKES : Blues n&rsquo; Boogie &bull; CAMILLE HOWARD : Million Dollar Boogie &bull; NELLY LUTCHER : Lake Charles Boogie &bull; LITTLE WILLIE LITTLEFIELD : Little Willie&rsquo;s Boogie &bull; WILLARD McDANIEL : 3 A.M. Boogie &bull; PAUL GAYTEN : Cow Cow Blues &bull; LLOYD GLENN : Yancey Special &bull; LLOYD GLENN : Honky Tonk Train &bull; FATS DOMINO : Swanee River Hop.<br /><strong><br /></strong><em>Droits audio : Fr&eacute;meaux &amp; Associ&eacute;s - La conservation patrimoniale de nos &eacute;motions..<br /></em><p>Les ouvrages sonores de Fr&eacute;meaux &amp; Associ&eacute;s sont produits par les meilleurs sp&eacute;cialistes, b&eacute;n&eacute;ficient d&rsquo;une restauration analogique et num&eacute;rique reconnue dans le monde entier, font l&rsquo;objet d&rsquo;un livret explicatif en langue fran&ccedil;aise et d&rsquo;un certificat de garantie. La marque Fr&eacute;meaux &amp; Associ&eacute;s a obtenu plus de 800 distinctions pour son travail mus&eacute;ographique de sauvegarde et de diffusion du patrimoine sonore.</p><em>This album, issued by the world-famous publishers, Fr&eacute;meaux &amp; Associ&eacute;s, has been restored using the latest technological methods. An explanatory booklet of liner notes in English and a guarantee are included.</em></p></p><br><br><p><p>PETE JOHNSON &amp; BIG JOE TURNER : It&rsquo;s All Right Baby &bull; PETE JOHNSON : Kaycee Feeling &bull; ALBERT AMMONS : Albert&rsquo;s Special Boogie &bull; MEADE LUX LEWIS : Medium Boogie &bull; JIMMY YANCEY : Shave &lsquo;em Dry &bull; JIMMY YANCEY : White Sox Stomp &bull; SAMMY PRICE &amp; BEA BOOZE : Mr. Freddie&rsquo;s Blues &bull; MONTANA TAYLOR : Indiana Avenue Stomp &bull; EARL HINES : Boogie Woogie On Saint-Louis Blues &bull; NAT KING COLE : Boogie A La King &bull; ART TATUM : Tatum Pole Boogie &bull; GENE RODGERS : G.R. Boogie &bull; DOROTHY DONEGAN : Piano Boogie &bull; HAZEL SCOTT : Hazel&rsquo;s Boogie Woogie &bull; ERROLL GARNER : Boogie Woogie Boogie &bull; MARTHA DAVIS : Player Piano Boogie &bull; OSCAR PETERSON : Oscar&rsquo;s Boogie &bull; ERSKINE BUTTERFIELD : Boogie Woogie Barcarolle &bull; ALBERT AMMONS : Oh! Lady Be Good &bull; SUGAR CHILE ROBINSON : Numbers Boogie &bull; MEADE LUX LEWIS : Bush Street Boogie &bull; AMOS MILBURN : My Baby&rsquo;s Boogying &bull; AMOS MILBURN : Amos Boogie &bull; HADDA BROOKS : Swingin&rsquo; The Boogie &bull; CHARLES BROWN : Blazer&rsquo;s Boogie &bull; CECIL GANT : New Cecil Boogie &bull; CECIL GANT : Syncopated Boogie &bull; JAY McSHANN : Hootie Boogie &bull; PETE JOHNSON : Sunset Romp &bull; SAMMY PRICE : Sammy&rsquo;s Boogie &bull; LITTLE BROTHER MONTGOMERY : Shreveport Farewell &bull; CHAMPION JACK DUPREE : Cabbage Greens N&deg;1 &bull; BIG MACEO : Chicago Breakdown &bull; ROOSEVELT SYKES : Blues n&rsquo; Boogie &bull; CAMILLE HOWARD : Million Dollar Boogie &bull; NELLY LUTCHER : Lake Charles Boogie &bull; LITTLE WILLIE LITTLEFIELD : Little Willie&rsquo;s Boogie &bull; WILLARD McDANIEL : 3 A.M. Boogie &bull; PAUL GAYTEN : Cow Cow Blues &bull; LLOYD GLENN : Yancey Special &bull; LLOYD GLENN : Honky Tonk Train &bull; FATS DOMINO : Swanee River Hop.</p><br /></p>"
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      "dwf_livret" => "<h3>BOOGIE WOOGIE PIANO</h3><p><span class=Texte><strong>BOOGIE WOOGIE PIANO<br />NEW YORK - CHICAGO - LOS ANGELES - NEW ORLEANS 1938-1954</strong></span></p><p><span class=Texte>Vol.2 &ldquo;THE BOOGIE WOOGIE CRAZE&rdquo;</span></p><br /><p><span class=Soustitre>DU NEUF AVEC DU VIEUX ou LA DÉCOUVERTE TARDIVE DU BOOGIE-WOOGIE</span></p><p align=justify><span class=Texte>La tendance qui consiste &agrave; retrouver d&rsquo;anciennes formes, pratiques, recettes&hellip; oubli&eacute;es ou m&eacute;connues pour les remettre au go&ucirc;t du jour et les faire passer pour le dernier cri de la nouveaut&eacute; ne date pas d&rsquo;aujourd&rsquo;hui. En ce d&eacute;but du XXIe si&egrave;cle balbutiant, t&acirc;tonnant, la pr&eacute;occupation de l&rsquo;art, &agrave; travers ses expressions et ses productions, est souvent de faire diversion. Bien aid&eacute;s par les moyens de diffusion, d&rsquo;information, de communication et de pression qui font du moindre &eacute;v&eacute;nement un &ldquo;spectacle&rdquo;, les cr&eacute;ateurs (sic) habiles &eacute;patent facilement le bourgeois (le <em>gogo bobo</em>) &agrave; grand renfort de manifestations destin&eacute;es &agrave; lui en mettre plein la vue. Or, bien souvent, ce sont le d&eacute;cor, l&rsquo;habillage, la publicit&eacute; et la litt&eacute;rature qui va avec, qui cr&eacute;ent l&rsquo;illusion et d&eacute;guisent le produit pr&eacute;sent&eacute; en le faisant passer pour une nouveaut&eacute;, alors que la structure, le corps et l&rsquo;essence de l&rsquo;objet sont de nature beaucoup plus ancienne. Les exemples que nous fournissent les arts plastiques, d&rsquo;expression corporelle, de la mode (haute couture) et musicaux sont innombrables et quotidiens.<br />Pourtant, il appara&icirc;t que l&rsquo;emprunt, l&rsquo;appropriation, le recyclage, la citation, la restauration d&rsquo;&eacute;l&eacute;ments anciens, s&rsquo;ils masquent souvent un vide, peuvent, lorsqu&rsquo;ils sont bien &eacute;tudi&eacute;s, assimil&eacute;s et compris, enrichir des pratiques cr&eacute;atrices et des modes d&rsquo;expression. Ce sont ces fameuses <em>racines</em> sur lesquelles chacun s&rsquo;appuie pour se ressourcer, se revivifier et donner de l&rsquo;assise et de l&rsquo;&eacute;lan &agrave; ses cr&eacute;ations.<br />Ces consid&eacute;rations g&eacute;n&eacute;rales un peu simplistes &ndash; le lecteur nous le pardonnera &ndash; s&rsquo;appliquent bien &eacute;videmment aux musiques populaires qui sont n&eacute;es et ont grandi au cours du si&egrave;cle pass&eacute; et que nous rattachons au tronc commun des musiques afro-am&eacute;ricaines que, par commodit&eacute;, nous d&eacute;nommons<em> jazz</em>. Appellation simplificatrice mais encore coh&eacute;rente et justifi&eacute;e dans son contexte historique, le mot <em>jazz</em> a pris, ces derni&egrave;res d&eacute;cennies, une signification plus &ldquo;universelle&rdquo; qui l&rsquo;a largement d&eacute;natur&eacute; et &eacute;loign&eacute; de celle, pourtant d&eacute;j&agrave; approximative et ambigu&euml;, qui d&eacute;signait <em>la</em> musique cr&eacute;&eacute;e par les Noirs am&eacute;ricains au XXe si&egrave;cle.<br />Et lorsque nous &eacute;crivons <em>jazz,</em> nous pensons <em>blues</em> &eacute;videmment, &eacute;l&eacute;ment flou mais essentiel qui appara&icirc;t en filigrane derri&egrave;re toute musique afro-am&eacute;ricaine, y compris celles qui pr&eacute;c&egrave;dent la &ldquo;forme blues&rdquo; proprement dite. Pour pouvoir exprimer l&rsquo;informel &ndash; le blues &ndash; il faut le domestiquer et lui donner une structure, une charpente. Et l&rsquo;histoire du jazz/du blues n&rsquo;est qu&rsquo;une succession de rencontres, de chocs, d&rsquo;emprunts divers &ldquo;habill&eacute;s&rdquo;, recr&eacute;&eacute;s par le g&eacute;nie (comme on a coutume de le dire) du peuple afro-am&eacute;ricain. Durant sa &ldquo;grande&rdquo; p&eacute;riode, &agrave; la fois cr&eacute;ative, savante et populaire, p&eacute;riode qui se situe grosso modo entre les deux guerres mondiales et qui d&eacute;marre (avec l&rsquo;aide du disque) de sa naissance jusqu&rsquo;&agrave; son aboutissement &ldquo;classique&rdquo;, le jazz a &eacute;volu&eacute; avec une rapidit&eacute; confondante, semblant se jouer des difficult&eacute;s qu&rsquo;il y avait &agrave; combiner l&rsquo;informel &ndash; l&rsquo;&acirc;me noire &ndash; avec le structur&eacute;, l&rsquo;improvisation avec la composition, en y ajoutant cette invention magique, cet ingr&eacute;dient ind&eacute;finissable mais essentiel qu&rsquo;on appelle le <em>swing</em>. Se b&acirc;tissant sur des charpentes de plus en plus &eacute;labor&eacute;es, complexes, raffin&eacute;es, le jazz avait rapidement domestiqu&eacute; le blues, l&rsquo;une de ses plus fortes racines avec les <em>negro spirituals</em>, en l&rsquo;inscrivant dans des sch&eacute;mas rythmiques, harmoniques et m&eacute;lodiques bien d&eacute;finis &ndash; la forme blues la plus courante, dont le <em>boogie-woogie</em> fait partie, est construite sur 12 mesures comme chacun sait.&nbsp;&nbsp;<br />Avant m&ecirc;me l&rsquo;existence du mot jazz et des premi&egrave;res tentatives de d&eacute;finitions du terme, le blues, d&egrave;s les ann&eacute;es 1910, pouvait se lire et se jouer sur des partitions. Ces blues compos&eacute;s atteignent leur apog&eacute;e durant la d&eacute;cennie suivante avec la vogue des grandes chanteuses de &ldquo;blues classique&rdquo;, Bessie et Clara Smith, Ma Rainey, Ida Cox et bien d&rsquo;autres, vedettes &eacute;ph&eacute;m&egrave;res d&rsquo;un genre brutalement &eacute;trangl&eacute; par la crise de 1929. Aussi, tandis que le jazz poursuivait son &eacute;volution et entamait sa d&eacute;cennie de grands orchestres (<em>big bands</em>), le blues regagnait ses ghettos d&rsquo;origine, les pianistes de boogie, quant &agrave; eux, n&rsquo;en &eacute;tant gu&egrave;re sortis.<br />Nous ne r&eacute;&eacute;crirons pas l&rsquo;histoire du boogie-woogie que nous avons tent&eacute; de raconter dans notre pr&eacute;c&eacute;dent volume auquel nous renvoyons le lecteur et l&rsquo;auditeur (1). Nous rappellerons simplement que ce genre musical <em>pianistique</em> &ndash; il faut insister l&agrave;-dessus &ndash; apparu avant la fin du XIXe si&egrave;cle, vivra durant des d&eacute;cennies une existence souterraine dans les tripots, cabarets, dancings et autres lieux plus ou moins bien fam&eacute;s, ainsi que dans les <em>parties</em> et petites f&ecirc;tes priv&eacute;es chez l&rsquo;habitant. Certes, quelques pianistes compositeurs, plus &eacute;duqu&eacute;s musicalement ou int&eacute;gr&eacute;s dans le milieu du jazz, verront leurs &oelig;uvres &eacute;dit&eacute;es sur partitions, perfor&eacute;es sur rouleaux ou grav&eacute;es sur disques mais, comme pour le blues proprement dit, le boogie, uniquement diffus&eacute; aupr&egrave;s d&rsquo;une client&egrave;le de couleur, modeste ou pauvre, sera particuli&egrave;rement frapp&eacute; par la crise &eacute;conomique et la grande d&eacute;pression qui suivra.</span></p><br /><p align=justify><span class=Texte>Or, voil&agrave; que plusieurs &eacute;v&egrave;nements orientent, contre toute attente, les projecteurs vers le boogie-woogie. D&rsquo;une part, une pianiste-chanteuse noire de <em>jazz cocktail</em>, Cleo Brown, enregistre en 1935, un peu pour s&rsquo;amuser, le <em>Pinetop&rsquo;s Boogie Woogie</em>, sorte d&rsquo;arch&eacute;type du genre grav&eacute; par son cr&eacute;ateur, Clarence &ldquo;Pinetop&rdquo; Smith, en 1928, quelques mois avant son d&eacute;c&egrave;s accidentel d&ucirc; &agrave; une balle perdue ! (2) Diffus&eacute; essentiellement dans le circuit commercial blanc, le disque de Cleo Brown obtient un grand succ&egrave;s aupr&egrave;s d&rsquo;auditeurs qui n&rsquo;auraient jamais daign&eacute; jeter une oreille vers une musique &ldquo;de sauvages, assez pauvre et &eacute;l&eacute;mentaire pour n&rsquo;int&eacute;resser que des N&egrave;gres qui se tr&eacute;moussent&rdquo;. Au m&ecirc;me moment, malgr&eacute; tout, quelques jeunes amateurs blancs passionn&eacute;s de jazz et curieux de d&eacute;couvrir les musiques noires authentiques les plus m&eacute;connues, d&eacute;nichaient quelques disques de boogie-woogie enregistr&eacute;s par leurs cr&eacute;ateurs, alors illustres inconnus. Parmi eux John Hammond, jeune critique, futur producteur et grand d&eacute;couvreur de talents. Tomb&eacute; sur un exemplaire de Honky <em>Tonk Train Blues</em>, autre pi&egrave;ce embl&eacute;matique du genre grav&eacute;e par Meade Lux Lewis en 1927 (1), il part &agrave; sa recherche et, gr&acirc;ce au tuyau que lui a donn&eacute; un autre pianiste, Albert Ammons, le d&eacute;niche dans un garage de Chicago o&ugrave; il lave les voitures. Ammons, qui dirige un petit orchestre de r&eacute;putation modeste, n&rsquo;a encore jamais enregistr&eacute;. Ni une ni deux, Lewis et Ammons, l&rsquo;un comme l&rsquo;autre, se retrouvent en studio (2).<br />Et puis voil&agrave; que cette forme simple, volontairement r&eacute;p&eacute;titive bas&eacute;e sur un rythme obsessionnel et immuable, va entrer dans le r&eacute;pertoire des orchestres de jazz et, par l&agrave; m&ecirc;me, acqu&eacute;rir une r&eacute;putation &ldquo;honorable&rdquo; parmi la jeunesse et le grand public, par le biais un peu &eacute;dulcor&eacute; des big bands blancs de &ldquo;swing&rdquo;. En un rien de temps, le boogie-woogie devient la derni&egrave;re danse &agrave; la mode&hellip; apr&egrave;s des lustres d&rsquo;existence <em>underground</em>, donc d&rsquo;ignorance. Bel exemple, dans le domaine qui nous int&eacute;resse ici, de cette appropriation &ndash; on pourrait presque aller jusqu&rsquo;au pillage &ndash; d&rsquo;un &eacute;l&eacute;ment ancien pour le faire passer pour neuf. Enfin, pourrait-on dire, le boogie-woogie est reconnu comme du jazz &agrave; part enti&egrave;re. Ce qui ne nous emp&ecirc;che pas de suspecter ces orchestres, ces musiciens et ces pianistes &ndash; pas tous, soyons juste &ndash; de r&eacute;pondre tout simplement &agrave; une demande commerciale et de plaquer artificiellement cette musique tr&egrave;s sp&eacute;cifique et typ&eacute;e sur leurs arrangements, plut&ocirc;t que de la consid&eacute;rer comme une composante enrichissante pour le jazz et d&rsquo;essayer d&rsquo;accomplir un v&eacute;ritable travail de cr&eacute;ation.<br />Pourtant, sans tapage et en dehors de tout effet de mode, le boogie-woogie avait d&eacute;j&agrave; infiltr&eacute; les orchestres noirs, en particulier ceux de Kansas City o&ugrave; une intense activit&eacute; noctambule et musicale animait la ville durant les ann&eacute;es 30. L&agrave;, il ne s&rsquo;agissait pas de d&eacute;calquer un morceau de piano strict et codifi&eacute; pour l&rsquo;enrober d&rsquo;arrangements destin&eacute;s &agrave; le mettre en valeur mais d&rsquo;int&eacute;grer le boogie-woogie de fa&ccedil;on naturelle dans le jeu orchestral. Le puriste remarquera, avec juste raison, que le pianiste de l&rsquo;orchestre, qu&rsquo;il s&rsquo;appelle Count Basie, Mary Lou Williams ou Jay McShann, n&rsquo;assoit plus de fa&ccedil;on immuable les <em>walking basses</em>, ces huit croches par mesure qui lui assurent son rythme sp&eacute;cifique. Mais l&rsquo;esprit demeure et l&rsquo;on peut dire que le jazz s&rsquo;enrichit gr&acirc;ce au boogie-woogie.</span></p><br /><p align=justify><span class=Texte>C&rsquo;est dans un club de Kansas City, pr&eacute;cis&eacute;ment, que s&eacute;vit depuis des ann&eacute;es <strong>Pete Johnson</strong> (1904-1967). Ce pianiste de boogie, dont la r&eacute;putation n&rsquo;a gu&egrave;re franchi les limites du canton, fait &eacute;quipe avec un monumental chanteur de blues, Big Joe Turner, employ&eacute; dans l&rsquo;&eacute;tablissement comme barman et homme &agrave; tout faire. Averti de la prodigieuse effervescence musicale de la ville, John Hammond se d&eacute;place et d&eacute;couvre, abasourdi, le big band de Count Basie et le duo Turner-Johnson. Il les inscrit aussit&ocirc;t au programme de son concert &eacute;v&eacute;nement &ldquo;From Spirituals to Swing&rdquo; qu&rsquo;il projette d&rsquo;organiser au Carnegie Hall de New York pour montrer pour la premi&egrave;re fois au public, dans ce cadre prestigieux, toutes les facettes de l&rsquo;art musical afro-am&eacute;ricain. Bien entendu, le boogie-woogie y a toute sa place et, le 23 d&eacute;cembre 1938, Pete Johnson et Joe Turner retrouvent sur la m&ecirc;me sc&egrave;ne Albert Ammons et Meade Lux Lewis venus de Chicago. Les trois pianistes jouent ensemble puis font l&rsquo;ouverture du Caf&eacute; Society, le club <em>hip</em> et multiracial o&ugrave; se retrouve le Tout-New York &agrave; la page. En m&ecirc;me temps, les portes des studios s&rsquo;ouvrent imm&eacute;diatement pour les accueillir, ensemble ou s&eacute;par&eacute;ment (2). Les trois pianistes font sensation et donnent, apr&egrave;s le coup d&rsquo;envoi amorc&eacute; par Cleo Brown et accentu&eacute; par le puissant relais de Tommy Dorsey dont le (<em>Pinetop&rsquo;s</em>) <em>Boogie Woogie</em> enregistr&eacute; en big band &agrave; la m&ecirc;me &eacute;poque (sept. 38) est le grand succ&egrave;s commercial du moment, une impulsion d&eacute;finitive &agrave; l&rsquo;essor du boogie-woogie qui entre v&eacute;ritablement dans sa p&eacute;riode de &ldquo;folie&rdquo;. </span></p><br /><p align=justify><span class=Texte><span class=Soustitre>LA &ldquo;BOOGIE-WOOGIE CRAZE&rdquo;</span><br />Pendant la dizaine d&rsquo;ann&eacute;es qui correspondent &agrave; la p&eacute;riode dite <em>Swing</em>, celle des grands orchestres, un v&eacute;ritable vent de folie secoue le <em>business </em>musical. Tout le pays vit au rythme du boogie. Malgr&eacute; de f&acirc;cheuses et in&eacute;vitables d&eacute;rives, cette p&eacute;riode va heureusement permettre &agrave; un genre musical dans sa pleine maturit&eacute; et &agrave; travers ses repr&eacute;sentants les plus authentiques, de se r&eacute;v&eacute;ler au grand jour. Apr&egrave;s une premi&egrave;re vie cach&eacute;e, le boogie-woogie va vivre son &acirc;ge d&rsquo;or.<br />Il fallait marquer ce coup d&rsquo;envoi par une date forte : le duo Turner-Johnson enregistr&eacute; <em>live</em> au Carnegie Hall, plut&ocirc;t qu&rsquo;en studio quelques jours plus tard. Le jazz poss&egrave;de lui aussi ses dates historiques, celle du 23 d&eacute;cembre 1938 en est une. C&rsquo;est &eacute;galement la premi&egrave;re fois que l&rsquo;on entend un <em>vrai </em>chanteur s&rsquo;exprimer sur les rythmes du boogie avec le seul soutien d&rsquo;un piano. Genre essentiellement instrumental, le boogie-woogie permettait parfois au pianiste de chanter ou de commenter son morceau, voire d&rsquo;accompagner occasionnellement un chanteur de blues mais jamais sur un tempo aussi rapide. Big Joe Turner chante v&eacute;ritablement le boogie en osmose avec son pianiste. &Agrave; c&ocirc;t&eacute; de son coll&egrave;gue de Kansas City Jimmy Rushing, il va devenir le chef de file des <em>blues shouters</em>, chanteurs qui, aux d&eacute;buts du rhythm and blues, vont s&rsquo;exprimer &agrave; leur tour avec force sur le canevas du boogie. Apr&egrave;s le Carnegie Hall, les activit&eacute;s de Pete Johnson se confondent largement avec celles de son confr&egrave;re de Chicago Albert Ammons (1907-1949) avec qui il grave une s&eacute;rie de duos rest&eacute;e in&eacute;gal&eacute;e dans l&rsquo;histoire du boogie, si ce n&rsquo;est du jazz (2). Pour avoir une id&eacute;e de la pr&eacute;sence et de la puissance impressionnante de ces deux pianistes, il faut les voir jouer ensemble dans le film &ldquo;Boogie Woogie Dream&rdquo;. Peu de temps avant sa mort pr&eacute;matur&eacute;e, Ammons enregistra avec le grand orchestre de Lionel Hampton.</span></p><br /><p align=justify><span class=Texte>Le succ&egrave;s du trio Ammons-Johnson-Lewis entra&icirc;ne &agrave; sa suite la (re)d&eacute;couverte de quelques-uns des pionniers du genre. La premi&egrave;re et non la moindre est celle du mentor de Lewis, le v&eacute;t&eacute;ran <strong>Jimmy Yancey</strong> (1894-1951), pianiste singulier qui va devenir un peu le &ldquo;quatri&egrave;me mousquetaire&rdquo; du piano boogie, bien qu&rsquo;il ne f&ucirc;t jamais associ&eacute; aux autres pour quelque rencontre en duo. Apr&egrave;s ses premi&egrave;res faces pour Victor en 1939 (2), il r&eacute;alise par la suite plusieurs s&eacute;ances d&rsquo;enregistrement, jouant et rejouant avec de multiples variantes, les trois ou quatre morceaux imm&eacute;diatement reconnaissables de son r&eacute;pertoire. Nous en avons choisi deux, grav&eacute;s en 1943, toujours tr&egrave;s typ&eacute;s avec leurs rythmes d&eacute;hanch&eacute;s et leurs syncopes, qui compl&egrave;tent le catalogue de ses &oelig;uvres. Apr&egrave;s une prestation &agrave; son tour au Carnegie Hall en 1948, Yancey ne va pas tarder &agrave; tomber malade et il appara&icirc;t fatigu&eacute; et h&eacute;sitant dans ses derniers enregistrements pour Atlantic en 1951 ; ann&eacute;e o&ugrave; il donne son ultime concert &agrave; Chicago en compagnie de son viel ami Cripple Clarence Lofton, autre pionnier, avec Cow Cow Davenport et Montana Taylor, &agrave; graver quelques disques durant les <em>forties</em> (2).<br />De ces grands cr&eacute;ateurs encore vivants, seul <strong>Arthur &ldquo;Montana&rdquo; Taylor</strong> (1903-1955) a conserv&eacute; les moyens d&rsquo;exprimer quelque chose de construit. Pourtant d&eacute;sabus&eacute; apr&egrave;s le manque de reconnaissance (artistique et financi&egrave;re) de ses deux premiers disques r&eacute;alis&eacute;s en 1929, il avait referm&eacute; le couvercle de son piano pendant dix-sept ans. Il accepte d&rsquo;enregistrer &agrave; nouveau en 1946 et pr&eacute;sente des aspects encore m&eacute;connus (accompagnateur, chanteur et profond bluesman) de son puissant talent. <em>Indiana Avenue Stomp</em>, avec son th&egrave;me m&eacute;lodique fleuri et son ex&eacute;cution &ldquo;horizontale&rdquo; r&eacute;guli&egrave;re, est un <em>remake</em> du m&ecirc;me titre grav&eacute; en 1929.<br />Grand pianiste de blues et de boogie dont il est devenu l&rsquo;un des meilleurs sp&eacute;cialistes tout en s&rsquo;exprimant dans toutes les formes du jazz <em>mainstream</em>, notamment au sein de petites formations, <strong>Sammy Price</strong> (1908-1992) se montre &eacute;galement un accompagnateur de vocalistes hors pair. Son accompagnement des chanteuses de gospel Sister Rosetta Tharpe et Marie Knight (3) fait l&rsquo;unanimit&eacute; par sa pertinence et la justesse de son placement et de ses commentaires. Il accompagne ici la chanteuse Bea Booze dans une interpr&eacute;tation d&rsquo;un &ldquo;classique&rdquo; du boogie-blues cr&eacute;&eacute; par le pianiste-chanteur Harry &ldquo;Freddie&rdquo; Shayne en 1935, <em>Mr. Freddie Blues</em>, et repris en version instrumentale par Meade Lux Lewis l&rsquo;ann&eacute;e suivante (2). Le tempo, absolument parfait comme Sammy Price sait l&rsquo;installer, donne une rare pr&eacute;sence &agrave; cette superbe ex&eacute;cution. Sa venue au festival de Nice en 1948 avec l&rsquo;orchestre de Mezz Mezzrow, donna &agrave; Sammy l&rsquo;occasion de poursuivre son s&eacute;jour &agrave; Paris et d&rsquo;y enregistrer une premi&egrave;re s&eacute;rie de boogies &ndash; il y en aura d&rsquo;autres plus tard &ndash; remarquablement &eacute;quilibr&eacute;s et contrast&eacute;s. Le classicisme d&rsquo;un genre &agrave; son apog&eacute;e.<br />Avec Sammy Price comme solide pilier central, nous franchissons le pont qui m&egrave;ne sur les rives du piano jazz sous ses multiples aspects. Et, comme tout orchestre en cette p&eacute;riode propice, tout pianiste qui se respecte se doit d&rsquo;inscrire au moins un boogie &agrave; son r&eacute;pertoire. <strong>Earl Hines</strong> (1903-1983), le cr&eacute;ateur du <em>trumpet-piano style</em> avec Louis Armstrong et inspirateur de tous les pianistes modernes, avait justement grav&eacute; un m&eacute;morable <em>Boogie Woogie On St. Louis Blues</em> avec son grand orchestre en 1940, v&eacute;ritable concerto pour piano boogie et orchestre. Seul &agrave; Paris en 1949, il reprend ses magnifiques variations sur ce th&egrave;me, avec beaucoup de libert&eacute;s rythmiques. On notera avec int&eacute;r&ecirc;t que le style propre de chaque grand soliste ressort distinctement en d&eacute;pit de la rigueur formelle des interpr&eacute;tations. Autre grand ma&icirc;tre du piano jazz, <strong>Art Tatum</strong> (1909-1956) s&rsquo;offre le luxe , dans une courte pi&egrave;ce d&rsquo;une renversante virtuosit&eacute; prise sur un tempo d&rsquo;enfer, aussi riche d&rsquo;accents, de ruptures et d&rsquo;envol&eacute;es que ses morceaux les plus fameux, de la jouer en R&eacute;, une tonalit&eacute; &ldquo;impossible&rdquo; pour un pianiste de boogie !<br />Dans un style diff&eacute;rent mais tout aussi virtuose, le jeune <strong>Erroll Garner</strong> (1921-1977) &agrave; ses d&eacute;buts fait ressortir toutes les caract&eacute;ristiques d&rsquo;un jeu clairement identifiable et inimitable : du &ldquo;Garner&rdquo; sur les <em>walking basses</em>.<br />Impossible non plus de ne pas reconna&icirc;tre <strong>Nat King Cole</strong> (1917-1965) qui construit son interpr&eacute;tation, comme &agrave; son habitude, sous l&rsquo;angle du trio en laissant un solo &agrave; son guitariste Oscar Moore.<br />&Agrave; un degr&eacute; inf&eacute;rieur sur la grande &eacute;chelle des g&eacute;ants du piano jazz, <strong>Dorothy Donegan</strong> (1922-1998), peu connue du grand public jusqu&rsquo;&agrave; ses apparitions et disques en Europe dans les ann&eacute;es 70 mais consid&eacute;r&eacute;e par ses confr&egrave;res comme l&rsquo;une des plus grandes pianistes de jazz, est une disciple d&rsquo;Art Tatum. Son premier disque, <em>Piano Boogie</em>, enregistr&eacute; &agrave; l&rsquo;&acirc;ge de 20 ans et inspir&eacute; autant de Pinetop Smith que de Count Basie, est une magistrale d&eacute;monstration d&rsquo;aisance et de swing, d&rsquo;autorit&eacute; et de finesse, de rigueur et d&rsquo;agilit&eacute;. <strong>Gene Rodgers</strong> (1910-1987), excellent musicien capable de s&rsquo;exprimer aussi bien en soliste qu&rsquo;en big band, conjugue un peu les influences les plus oppos&eacute;es (Fats Waller, Teddy Wilson puis Art Tatum et m&ecirc;me Erroll Garner). Il aborde volontiers le boogie-woogie comme n&rsquo;importe quelle autre proposition musicale, n&rsquo;h&eacute;sitant pas &agrave; l&rsquo;occasion &agrave; s&rsquo;offrir une petite fantaisie comique assez r&eacute;ussie comme on peut le voir dans un petit film d&rsquo;&eacute;poque. Mais on aurait tort de r&eacute;duire son talent &agrave; cette seule facette comme en t&eacute;moigne son <em>G.R. Boogie</em> parfaitement ma&icirc;tris&eacute; avec des variations et rondement men&eacute; sur un rythme &ldquo;ferroviaire&rdquo;.<br />La personnalit&eacute; manque encore &agrave; <strong>Oscar Peterson</strong> (n&eacute; en 1925), jeune pianiste de 22 ans qui r&eacute;side encore en sa ville natale de Montr&eacute;al. Doublement influenc&eacute; par Tatum et Cole, il poss&egrave;de d&eacute;j&agrave; une technique prodigieuse et une main gauche impressionnante, et propose, comme il le fait toujours, un morceau &agrave; l&rsquo;ex&eacute;cution impeccable : notons le passage &ldquo;swing&rdquo; et les accords &ldquo;jazz&rdquo;.</span></p><br /><p align=justify><span class=Texte>&Agrave; c&ocirc;t&eacute; de ces pianistes clairement r&eacute;pertori&eacute;s jazz mais qui savent aussi, pour la plupart, &ecirc;tre de vrais <em>entertainers</em>, mot ici employ&eacute; sans aucune connotation p&eacute;jorative, voisinent nombre de pianistes qui se sont volontiers satisfaits de cet art de l&rsquo;agr&eacute;ment et de la communication, qu&rsquo;il s&rsquo;effectue sous l&rsquo;angle de la confidence, du clin d&rsquo;&oelig;il, de la complicit&eacute;, ou sous celui de la conversation franche et directe. Peu enclins &agrave; r&eacute;volutionner quoique ce soit &ndash; hormis King Cole mais presque &agrave; son insu &ndash;, ils pr&eacute;f&egrave;rent se constituer une large palette d&rsquo;expressions musicales pour s&rsquo;en servir &agrave; volont&eacute; avec go&ucirc;t, astuce, savoir-faire et pour confectionner de petites pi&egrave;ces, parfois sans pr&eacute;tention mais souvent ravissantes. Durant les ann&eacute;es 40, de nombreuses pianistes (souvent chanteuses) s&rsquo;illustrent ainsi dans ces musiques de divertissement de qualit&eacute; que d&rsquo;aucuns appellent le <em>jazz cocktail</em> parce qu&rsquo;il fait les belles soir&eacute;es des bo&icirc;tes et des clubs chics et que les puristes du jazz rejettent vers le blues alors que ceux du blues les renvoient vers le jazz ! Tant et si bien que des gens importants et c&eacute;l&egrave;bres de leur vivant se retrouvent bannis des dictionnaires et discographies sp&eacute;cialis&eacute;s. Ils n&rsquo;existent plus pour l&rsquo;Histoire.<br />C&rsquo;est le cas pour la tr&egrave;s sympathique et formidable pianiste <strong>Martha Davis</strong> (1917-1960), chanteuse et &ldquo;animatrice&rdquo; qui forma un fameux duo avec son mari, le contrebassiste Calvin Ponder. Les films et transcriptions (pour juke-boxes &agrave; images) dans lesquels on voit ses doigts boudin&eacute;s parcourir le clavier avec une aisance stup&eacute;fiante, sont des petits chefs-d&rsquo;&oelig;uvre de gr&acirc;ce, de dr&ocirc;lerie et de fra&icirc;cheur. Pas jolie, rondouillarde, elle d&eacute;gage, &agrave; l&rsquo;instar de Fats Waller dont elle s&rsquo;est inspir&eacute;e, beaucoup de l&eacute;g&egrave;ret&eacute;. &Agrave; son <em>Martha&rsquo;s Boogie</em>, qui est un peu une d&eacute;monstration de virtuosit&eacute;, en particulier &agrave; la main gauche comme nous pouvons le voir sur un film, nous avons pr&eacute;f&eacute;r&eacute; un autre morceau, chant&eacute;, qui donne, malgr&eacute; une sonorit&eacute; bizarrement d&eacute;saccord&eacute;e, une meilleure image de son jeu harmonique.<br />Également dot&eacute;e d&rsquo;une technique assez impressionnante, <strong>Hazel Scott</strong> (1920-1988) se situe aussi dans la frange qui s&eacute;pare artificiellement le jazz de la vari&eacute;t&eacute;. Disciple de Tatum et de Wilson, elle poss&egrave;de un jeu brillant mais ne semble pas vraiment d&eacute;sireuse de donner une v&eacute;ritable dimension &agrave; ses morceaux. Elle a grav&eacute; quelques boogies qui l&rsquo;inscrivent plus dans la lign&eacute;e de Cleo Brown que dans celle d&rsquo;Albert Ammons ! Spontan&eacute;it&eacute; en moins et clich&eacute;s en plus qui ne sont pas sans rappeler les tics et formules toutes faites de certains pianistes blancs de l&rsquo;&eacute;poque. Cela dit, en 1942, son <em>Hazel&rsquo;s Boogie</em> Woogie tenait la route et poss&eacute;dait quelques longueurs d&rsquo;avance sur les morceaux st&eacute;r&eacute;otyp&eacute;s de ses p&acirc;les suiveurs.<br />Hazel Scott &eacute;tait connue pour ces interpr&eacute;tations &ldquo;jazz&eacute;es&rdquo; de morceaux classiques. Cet exercice connaissait une vogue certaine &agrave; l&rsquo;&eacute;poque et Art Tatum, pour ne citer que lui, s&rsquo;y est risqu&eacute; avec le plus grand bonheur. Mais le r&eacute;sultat peut aussi friser le ridicule. Pianiste de jazz un peu &ldquo;baroque&rdquo;, <strong>Erskine Butterfield</strong> ((1913-1961) s&rsquo;y est essay&eacute; sur le boogie (il a d&rsquo;ailleurs publi&eacute;s des recueils de compositions <em>en boogie</em>). Le th&egrave;me de la <em>Barcarolle </em>des &ldquo;Contes d&rsquo;Hofmann&rdquo; sert ici de pr&eacute;texte &agrave; une r&eacute;alisation habile et plaisante (4). N&eacute;anmoins, on atteint ici les limites du genre. Dans un genre voisin, mais avec un tout autre &ldquo;poids&rdquo;, Pete Johnson et surtout Albert Ammons mettront &ldquo;en boogie&rdquo; des standards du jazz et de la musique populaire am&eacute;ricaine avec une r&eacute;ussite certaine et en respectant &agrave; la fois le th&egrave;me choisi et la forme et l&rsquo;esprit du boogie (<em>Lady be Good</em>).<br />Trop tard pour b&eacute;n&eacute;ficier de la vague <em>boogie craze</em>, trop t&ocirc;t pour s&rsquo;accrocher durablement au rhythm and blues, <strong>Sugar Chile Robinson</strong> (n&eacute; en 1940) est un m&eacute;t&eacute;orite apparu dans le ciel musical d&rsquo;une &eacute;poque d&eacute;j&agrave; r&eacute;volue. &Agrave; l&rsquo;&acirc;ge de 2 ans, il joue d&eacute;j&agrave; correctement du piano, &agrave; 5 ans il se produit en public, &agrave; 6 ans il interpr&egrave;te la chanson g&eacute;n&eacute;rique d&rsquo;un film, et &agrave; 9 ans il enregistre ses premiers disques ! R&eacute;sultat : <em>Numbers Boogie</em> grimpe &agrave; la 4e place du Top 40 R&amp;B. On aurait pu n&rsquo;en faire qu&rsquo;un ph&eacute;nom&egrave;ne de foire, or ses interpr&eacute;tations, assez &eacute;poustouflantes pour un gamin de son &acirc;ge, poss&egrave;dent la fra&icirc;cheur de l&rsquo;innocence et distillent une v&eacute;ritable joie de jouer. Malheureusement, propuls&eacute; trop vite vedette, l&rsquo;enfant prodige dispara&icirc;t de la sc&egrave;ne quelques ann&eacute;es plus tard. S&rsquo;ensuit cinquante ann&eacute;es de silence&hellip; jusqu&rsquo;&agrave; un come-back annonc&eacute; &agrave; Detroit !<br />La d&eacute;cennie s&rsquo;ach&egrave;ve avec la mort d&rsquo;Albert Ammons en 1949. Et tandis que Pete Johnson continue &agrave; d&eacute;fendre la musique authentique sur la c&ocirc;te Ouest, souvent avec son vieux partenaire Joe Turner, <strong>Meade Lux Lewis</strong> (1905-1964) a tendance &agrave; son tour &agrave; lorgner vers le jazz cocktail et le piano-bar alors que ses comp&eacute;tences techniques n&rsquo;ont pas l&rsquo;envergure requise par ce genre de fonction. Au milieu de ce r&eacute;pertoire peu consistant, il glisse toujours ses morceaux de bravoure comme Honky <em>Tonk Train Blues</em> qu&rsquo;il joue toujours plus vite, pour &eacute;pater le client, toujours plus b&acirc;cl&eacute;s. Pourtant, quand il le veut bien, sa puissance reste impressionnante comme le montre son <em>Bush Street Boogie</em> de 1954, v&eacute;ritable tour de force de 5&rsquo;30, sans temps morts ni baisse de r&eacute;gime qui, malgr&eacute; une inspiration in&eacute;gale, laisse l&rsquo;auditeur pantois et &eacute;puis&eacute; !</span></p><br /><p align=justify><span class=Texte><span class=Soustitre>LE PIANO BOOGIE DANS LE RHYTHM AND BLUES</span><br />Tout se termine en m&ecirc;me temps : fin de la guerre, fin de la gr&egrave;ve des enregistrements, fin de la <em>Swing Era</em>, fin des grands orchestres, fin du monopole des grandes maisons de disques&hellip; Le monde musical est en plein bouleversement et, durant les derni&egrave;res ann&eacute;es, beaucoup de choses ont chang&eacute; au sein de la population afro-am&eacute;ricaine. Elle a servi dans l&rsquo;arm&eacute;e sur tous les fronts, elle a massivement &eacute;migr&eacute; vers les grandes m&eacute;tropoles urbaines, elle a constitu&eacute; de nouvelles communaut&eacute;s, et les musiciens apportent du sang neuf &agrave; des formes qui ronronnaient et se scl&eacute;rosaient. En quelques ann&eacute;es, le jazz et les musiques noires populaires (blues, gospel&hellip;) changent radicalement et la grande majorit&eacute; de la communaut&eacute; se retrouve dans des types d&rsquo;expressions musicales souvent beaucoup plus proches de ses racines, plus directes, plus &ldquo;primitives&rdquo;, musiques qui vont bient&ocirc;t se rassembler sous la banni&egrave;re commerciale du <em>Rhythm &amp; Blues</em>, terme qui remplace le march&eacute; des <em>race records</em> d&rsquo;avant-guerre.<br />Ce sont, d&rsquo;une part le torride big band de Lionel Hampton (avec son pianiste Milt Buckner), d&rsquo;autre part le Tympany Five de Louis Jordan, le petit orchestre le plus populaire du pays durant les <em>forties</em>, qui op&egrave;rent le glissement d&rsquo;une &eacute;poque &agrave; une autre. Si les grandes formations sont peu nombreuses, difficult&eacute;s &eacute;conomiques obligent, les petits combos pullulent, notamment sur la c&ocirc;te Ouest du pays, le c&oelig;ur de cette effervescence. Le boogie-woogie devient alors un &eacute;l&eacute;ment essentiel dans le renouvellement de ces musiques populaires fortement rythm&eacute;es.<br />L&rsquo;int&eacute;gration du piano boogie dans ces petites formations o&ugrave; tr&ocirc;ne le saxophone t&eacute;nor, rejoint plus tard par la guitare &eacute;lectrique, fera l&rsquo;objet d&rsquo;une prochaine anthologie. Nous nous attacherons ici &agrave; pr&eacute;senter les personnalit&eacute;s caract&eacute;ristiques du genre, lorsqu&rsquo;elles s&rsquo;expriment dans le contexte &eacute;pur&eacute; du piano solo (ou tr&egrave;s l&eacute;g&egrave;rement accompagn&eacute;). Ces musiciens prolongent avec talent l&rsquo;esprit des grands a&icirc;n&eacute;s tout en maintenant vivante une forme musicale qui appartient d&eacute;sormais &agrave; l&rsquo;histoire.</span></p><br /><p align=justify><span class=Texte>Parmi les v&eacute;ritables sp&eacute;cialistes du genre qui appartiennent &agrave; la nouvelle g&eacute;n&eacute;ration, le texan <strong>Amos Milburn</strong> (1926-1980) appara&icirc;t comme &eacute;tant peut-&ecirc;tre le plus &eacute;blouissant. Main gauche souple et exceptionnelle, rigueur rythmique intraitable, jeu continuellement rebondissant, audaces et risques parfaitement ma&icirc;tris&eacute;s &agrave; la main droite, construction exemplaire, Milburn prolonge directement Pete Johnson et Albert Ammons tout en affinant le style. Le succ&egrave;s populaire en tant que chanteur qu&rsquo;il obtient au tournant des ann&eacute;es 40/50 occulte un peu les immenses qualit&eacute;s instrumentales d&rsquo;un pianiste de boogie-woogie &agrave; placer tout en haut de l&rsquo;&eacute;chelle, aux c&ocirc;t&eacute;s des plus grands.<br />Avant lui, deux pianistes-chanteurs avaient v&eacute;ritablement &ldquo;lanc&eacute;&rdquo; le rhythm and blues sur la c&ocirc;te californienne (avec le chanteur-batteur Roy Milton). Si <strong>Charles Brown</strong>, &eacute;galement n&eacute; au Texas (1922-1999), est d&rsquo;abord un interpr&egrave;te sophistiqu&eacute; de <em>blues cocktail</em> et de ballades qui a prolong&eacute; le genre cr&eacute;&eacute; par Nat King Cole en le &ldquo;bluesifiant&rdquo;, ses qualit&eacute;s de pianiste accompli &ndash; il a re&ccedil;u une formation classique &ndash; peuvent lui permettre d&rsquo;aborder le boogie avec aisance. Sa main gauche est toutefois moins rigoureuse que celle de Milburn et il d&eacute;roule chaque couplet un peu comme on tourne les pages d&rsquo;un catalogue. Mais il s&rsquo;agit avant tout d&rsquo;un jeu en trio o&ugrave; le guitariste Johnny Moore joue un r&ocirc;le identique &agrave; celui de son fr&egrave;re Oscar aupr&egrave;s de Nat Cole. Contrairement &agrave; Brown, <strong>Cecil Gant</strong> (1915-1951), originaire de Nashville, est un v&eacute;ritable sp&eacute;cialiste du piano boogie, m&ecirc;me s&rsquo;il doit partager son r&eacute;pertoire en deux apr&egrave;s le ph&eacute;nom&eacute;nal succ&egrave;s de <em>I Wonder</em> : ballades chant&eacute;es d&rsquo;une part, puissants boogie-woogies instrumentaux de l&rsquo;autre, toujours ex&eacute;cut&eacute;s dans un esprit d&eacute;pouill&eacute; avec une swinguante main gauche, les deux p&ocirc;les extr&ecirc;mes entre lesquels vont naviguer pendant des lustres tous les pianistes-chanteurs de la c&ocirc;te Ouest. Musicien aux approches contrast&eacute;es, Cecil Gant peut jouer une adaptation tr&egrave;s libre du classique de Pinetop Smith, qu&rsquo;il appelle ici <em>New Cecil Boogie</em>, comme d&eacute;couper les <em>walking basses</em> en syncopes et lancer des grappes de notes sur un accompagnement singulier (<em>Syncopated Boogie</em>).<br />Excellente pianiste &agrave; cheval entre le jazz cocktail et le boogie-woogie dont elle va devenir une &eacute;minente sp&eacute;cialiste, <strong>Hadda Brooks</strong> (1916-2002) est l&rsquo;une des premi&egrave;res &agrave; divulguer avec succ&egrave;s le boogie sur la c&ocirc;te Ouest. Bien qu&rsquo;elle se produise dans les cabarets chics comme Nat Cole ou Charles Brown, elle joue un boogie certes format&eacute;, car elle exploite durant sa tr&egrave;s longue carri&egrave;re ses succ&egrave;s initiaux, mais qui conserve une bonne dose d&rsquo;authenticit&eacute; et de conviction. Elle joue par ailleurs remarquablement le blues. On remarque dans son bien nomm&eacute; <em>Swingin&rsquo; The Boogie</em> jou&eacute; sur un piano un peu m&eacute;tallique, ses grappes d&rsquo;aigus cristallins, ses notes parfois r&eacute;p&eacute;t&eacute;es (&agrave; la Yancey), ses accompagnement de basse vari&eacute;s et, apr&egrave;s un passage &ldquo;swing&rdquo;, la reprise du <em>eight-to-the-bar</em>. Hadda Brooks fait un peu le lien entre un boogie classique et jazzy avec celui qui, au sein des musiques californiennes d&rsquo;un rhythm and blues en gestation, va retrouver toute sa n&eacute;gritude.<br />&Agrave; sa suite, d&rsquo;autres pianistes femmes se r&eacute;v&egrave;lent en Californie. Sa contemporaine <strong>Nellie Lutcher</strong> (n&eacute;e en 1915), pianiste et chanteuse louisianaise, capable de tout bien jouer comme nombre de ses cons&oelig;urs, est davantage marqu&eacute;e par le piano jazz d&rsquo;Earl Hines ou de Teddy Wilson que par le boogie-woogie. Elle n&rsquo;aborde qu&rsquo;occasionnellement ce qui n&rsquo;est qu&rsquo;un &eacute;l&eacute;ment de son vaste r&eacute;pertoire. Avec une bonne dizaine de titres class&eacute;s dans les <em>charts </em>&agrave; la fin des ann&eacute;es 40, Nellie (s&oelig;ur du saxophoniste chanteur Joe Lutcher) sera l&rsquo;une des premi&egrave;res grandes vedettes f&eacute;minines du R&amp;B &ndash; elle s&rsquo;est &eacute;galement produite en Europe en 1950/51). Son <em>Lake Charles Boogie</em>, qui renvoie &agrave; sa ville natale et comprend des progressions harmoniques originales, est un bel exemple d&rsquo;un art tout de finesse, de l&eacute;g&egrave;ret&eacute;, de gr&acirc;ce et de fantaisie&hellip; f&eacute;minines !<br />&Agrave; l&rsquo;oppos&eacute;, <strong>Camille Howard</strong> appara&icirc;t comme une pure sp&eacute;cialiste du boogie-woogie. Install&eacute;e comme figure centrale du combo de Roy Milton, celui-ci la laisse largement s&rsquo;exprimer au sein de son groupe ou en trio. Sous son nom, elle n&rsquo;enregistre quasiment que des boogies et obtient de beaux succ&egrave;s avec des pi&egrave;ces brillantes, enlev&eacute;es et puissantes qui la classent parmi les meilleures interpr&egrave;tes du genre, toutes &eacute;poques confondues. On appr&eacute;ciera la nettet&eacute; de la touche, la pr&eacute;cision de la frappe, les contrastes et les aigus fleuris. <br />Parmi la g&eacute;n&eacute;ration pr&eacute;c&eacute;dente, les deux pianistes de Kansas City, Pete Johnson et <strong>Jay McShann</strong> (n&eacute; en 1909) s&rsquo;installent &agrave; leur tour en Californie. Tous deux dirigent de petits groupes qui accompagnent souvent des chanteurs, et le second ne manque jamais d&rsquo;utiliser les basses roulantes qu&rsquo;il mod&egrave;le &agrave; sa personnalit&eacute;, sans appuyer son jeu et en variant les formules. C&rsquo;est un boogie plus <em>cool</em>, swinguant et rebondissant, sur un accompagnement moins appuy&eacute; de la main gauche : tout Kansas City.<br />D&rsquo;autres pianistes savent relever les d&eacute;fis du boogie-woogie. Du m&ecirc;me &acirc;ge que McShann, <strong>Lloyd Glenn</strong> (1909-1985) poss&egrave;de une solide exp&eacute;rience de musicien d&rsquo;orchestre et d&rsquo;accompagnateur lorsqu&rsquo;il enregistre ses premi&egrave;res faces sous son nom. R&eacute;servant ses propres compositions &agrave; des genres relevant plus des musiques en vogue dans le R&amp;B, il pr&eacute;f&egrave;re reprendre des th&egrave;mes c&eacute;l&egrave;bres quand il joue le boogie. Il rend ainsi hommage &agrave; Meade Lux Lewis en interpr&eacute;tant <em>Honky Tonk Train Blues </em>auquel il donne un petit c&ocirc;t&eacute; shuffle et plus respectueusement <em>Yancey Special</em>.<br />Moins connu, <strong>Willard McDaniel</strong> est un pianiste souvent utilis&eacute; dans les studios car poss&eacute;dant un grand sens du blues. S&rsquo;il aime aussi jouer et chanter &agrave; la mani&egrave;re de Fats Waller, c&rsquo;est &agrave; travers le boogie-woogie qu&rsquo;il semble avoir laiss&eacute; sa trace phonographique la plus convaincante. Go&ucirc;t, &eacute;quilibre et absence de virtuosit&eacute; gratuite caract&eacute;risent son jeu.<br />Plus &ldquo;fou fou&rdquo; le tout jeune <strong>Little Willie Littlefield</strong> (n&eacute; en 1931) &ndash; il a 17 ans lorsqu&rsquo;il enregistre son <em>Little Willie&rsquo;s Boogie</em> &agrave; Houston &ndash; se jette &agrave; bras le corps sur son clavier et, tandis que roulent les basses comme des vagues, les aigus cr&eacute;pitent et s&rsquo;emballent. Toujours au bord de la rupture, il d&eacute;ploie une vraie g&eacute;n&eacute;rosit&eacute; dans son jeu. Apr&egrave;s une carri&egrave;re dans le R&amp;B, Littlefield se cachera derri&egrave;re les pianos de bars avant de faire une r&eacute;apparition remarqu&eacute;e en Europe &agrave; la fin des ann&eacute;es 70. Install&eacute; sur le Vieux Continent o&ugrave; il continue &agrave; faire gronder les basses, Willie Littlefield demeure (peut-&ecirc;tre ?) le dernier &ldquo;vrai&rdquo; pianiste authentique vivant de boogie-woogie.</span></p><br /><p align=justify><span class=Texte><span class=Soustitre>LE BOOGIE-WOOGIE ET LE BLUES ÉTERNEL</span><br />Terrain d&rsquo;improvisation pour les jazzmen, source vivifiante du rhythm and blues, le boogie garde tout naturellement sa place sur la palette du pianiste de blues. Question de tempo. Bien s&ucirc;r le bluesman est d&rsquo;abord conteur, chanteur, mais il doit aussi remplir son r&ocirc;le d&rsquo;<em>entertainer</em> dans les petits clubs, bars, <em>juke joints</em>, et il lui faut parfois appuyer un peu sur les touches pour se faire entendre ou faire danser une assistance un peu bruyante. Le pianiste de blues ne rend pas toujours une copie parfaite mais lorsqu&rsquo;il joue un boogie, nul doute qu&rsquo;il y ajoute un poids, une densit&eacute;, un v&eacute;cu, une &ldquo;histoire&rdquo; personnelle qu&rsquo;on serait en peine de trouver chez un pianiste plus brillant et plus d&eacute;monstratif.<br />Il y a de la rudesse chez <strong>Champion Jack Dupree</strong> ((1910-1992), dans les basses appuy&eacute;es comme dans le phras&eacute; sobre ; son <em>Cabbage Greens</em> assez monolithique d&eacute;gage des parfums n&eacute;o-orl&eacute;anais. Il y a des ruptures de rythme chez <strong>Roosevelt Sykes</strong> (1906-1983) qui a assimil&eacute; les syncopes brutales du Mississippi et toutes les ficelles des <em>barrelhouses</em> du Sud, et qui b&acirc;tit un jeu robuste, dynamique, ponctu&eacute; d&rsquo;&eacute;clats et de contrastes. Un m&ecirc;me sens de la syncope mais plus poli, plus &ldquo;jazz&eacute;&rdquo; se retrouve chez <strong>Little Brother Montgomery</strong> ((1906-1985) qui reprend ici l&rsquo;une de ses compositions les plus typiques sur un piano curieusement pr&eacute;par&eacute; ; le d&eacute;coupage et le rythme syncop&eacute; font bien ressortir l&rsquo;alternance et les oppositions entre graves et aigus. Les prolongeant tous, <strong>Big Maceo Merriweather</strong> (1905-1953) fait entrer le boogie dans le Chicago blues moderne, construisant puissamment et avec une impressionnante ma&icirc;trise son <em>Chicago Breakdown</em> parfaitement intriqu&eacute; avec la guitare de Tampa Red. Avant lui, dans un domaine o&ugrave; le piano n&rsquo;avait pas toujours l&rsquo;espace pour s&rsquo;exprimer longuement, Joshua Altheimer et Blind John Davis <em>accompagnaient</em> ; apr&egrave;s lui, Eddie Boyd, Otis Spann, Little Johnny Jones rentreront au sein du blues band ; Big Maceo, lui, s&rsquo;impose&hellip;</span></p><br /><p align=justify><span class=Texte><span class=Soustitre>BOOGIE &Agrave; LA NOUVELLE-ORLÉANS<br /></span>Montgomery et Dupree venaient de la Nouvelle-Orl&eacute;ans, Sykes finira par s&rsquo;y installer. Parall&egrave;lement &agrave; ce qui se passe sur la West Coast, la cit&eacute; du Croissant, alors en pleine &eacute;bullition, est en train de se mitonner un rhythm and blues go&ucirc;teux, color&eacute; et &eacute;pic&eacute; qui &eacute;merge au tournant du demi-si&egrave;cle avant de d&eacute;loger le son californien qui se disperse un peu partout. En effet, pour rentabiliser leurs succ&egrave;s, nombre d&rsquo;artistes doivent s&rsquo;exporter vers la c&ocirc;te Est. Pendant ce temps, &agrave; l&rsquo;extr&ecirc;me sud louisianais, au milieu des cuivres et des anches, bien cal&eacute; sur une section rythmique &agrave; la fois cadenc&eacute;e et monolithique, le piano apporte liant, souplesse et onctuosit&eacute; &agrave; l&rsquo;ensemble.<br />&Agrave; c&ocirc;t&eacute; des figures essentielles mais marginales que sont le Professor Longhair ou Archibald, <strong>Paul Gayten</strong> (1920-1991) dirige de son piano un orchestre qui fait les beaux jours des sc&egrave;nes et des studios. Instrumentiste modeste, il propose ici une &eacute;tonnante et irr&eacute;sistible relecture <em>New Orleans</em> du vieux <em>Cow Cow Blues</em> de Cow Cow Davenport (1).<br />Mais le pianiste-chanteur qui va savoir choisir (avec le trompettiste-chef d&rsquo;orchestre Dave Bartholomew), planter et faire fructifier les meilleures graines s&rsquo;appelle <strong>Antoine &ldquo;Fats&rdquo; Domino</strong> (n&eacute; en 1928). Chez lui, le boogie-woogie s&rsquo;enrichit des rythmes cara&iuml;bes et du pittoresque campagnard cajun. Et il devient, au-del&agrave; du rhythm and blues et bient&ocirc;t du rock &lsquo;n&rsquo; roll, du &ldquo;Fats Domino&rdquo;, v&eacute;ritable marque d&eacute;pos&eacute;e. Si ce sont d&rsquo;abord sa voix et ses chansons qui lui ont permis de conqu&eacute;rir le monde, il ne faudrait pas sous-estimer ce piano roulant qui ici, apr&egrave;s Albert Ammons, &ldquo;met en boogie&rdquo; <em>Swanee River</em>, la vieille chanson am&eacute;ricaine qu&rsquo;il conduit sur les chapeaux de roues en appauvrissant un peu les passages d&rsquo;accords, mais avec un drive impressionnant pour notre plus grand bonheur.<br />&Agrave; l&rsquo;or&eacute;e des <em>fifties</em>, le t&eacute;moin est d&eacute;sormais transmis. Les pianistes de jazz, Sammy Price except&eacute;, retournent sur leurs terres ou vont d&eacute;fricher ailleurs, et les grands pionniers du boogie quittent la sc&egrave;ne, h&eacute;las, les uns apr&egrave;s les autres. Mais le rythme aux quatre temps immuables et envo&ucirc;tant du boogie-woogie ne va pas dispara&icirc;tre. Bien au contraire, il est en train de s&rsquo;inscrire durablement dans les musiques populaires qui se ressourcent r&eacute;guli&egrave;rement dans le blues et dans les Gospel songs. L&rsquo;amplification d&rsquo;une part, et l&rsquo;importance accrue donn&eacute;e aux sections rythmiques qui accentuent tous les temps d&rsquo;autre part, lib&egrave;rent le piano de son r&ocirc;le d&rsquo;instrument complet. Enfin, les formes nouvelles du rhythm and blues r&eacute;clament des orchestres et des interpr&eacute;tations qui &ldquo;chauffent&rdquo; et un pianiste soliste a bien du mal &agrave; lutter contre cette tendance. Il doit s&rsquo;adapter en s&rsquo;entourant de musiciens ou en accompagnant un chanteur sous peine de dispara&icirc;tre du circuit. C&rsquo;est donc au sein de ces formations qu&rsquo;on retrouvera d&eacute;sormais l&rsquo;instrument qui cr&eacute;a ce rythme puissant, &eacute;tourdissant et irr&eacute;sistible, le piano boogie.<br />Jean Buzelin</span></p><br /><p><br /><span class=Texte>Notes :<br />(1) Voir le coffret <em>Boogie Woogie Piano</em> (FA 036) dans lequel sont d&eacute;j&agrave; pr&eacute;sent&eacute;s plusieurs pianistes figurant dans ce nouveau volume.<br />(2) In <em>Boogie Woogie Piano</em> (op. cit.).<br />(3) Voir <em>Complete Sister Rosetta Tharpe Vol. 2</em> (FA 1302), <em>Vol. 3</em> (FA 1303) et <em>Vol. 4</em> (FA 1304).<br />(4) Cette &ldquo;barcarolle&rdquo; a &eacute;t&eacute; reprise, entre autres, par Camille Howard, pianiste de boogie pur jus.</span></p><br /><p><span class=Texte>Nous remercions particuli&egrave;rement Jean-Pierre Arniac, Philippe Baudoin, Claude Carri&egrave;re, Jacques Morgantini et Michel Pfau pour leur pr&ecirc;t de disques, parfois rares, tir&eacute;s de leur collection, ainsi que Philippe Le Jeune.</span></p><br /><p><span class=Texte>Photos et collections : Jean-Paul Amouroux, Jean-Pierre Arniac, Jack Bradley, Jacques Dem&ecirc;tre, Art Feher/Jimmy Ernst, James Kriegsmann, Montagne, Jacques Morgantini, Oldie Blues, Gilles P&eacute;tard, Michel Pfau, Paul Rust, Mr. R&amp;B, Billy Vera, X (D.R.).</span></p><br /><p><br /><p align=justify><p><span class=Soustitre>English notes<br />A BLEND OF NEW AND OLD or THE LATE DISCOVERY OF BOOGIE-WOOGIE</span></p><p align=justify><span class=Texte>The tendency to reinvent an old, forgotten, little known style and revamp it to suit contemporary taste and pass it off as something new has always existed. In these early tentative days of the 21st century all art forms are often keen to create something different. Backed by the media, which is able to turn the most insignificant event onto a &ldquo;happening&rdquo;, clever producers manage to impress middle class audiences with their shows. Frequently the d&eacute;cor, costumes and publicity that go along with it help to create an illusion and dress up the presented product as something new while, in fact, it is based on some old idea. Examples of this abound today in the world of plastic art, dance, fashion and music.<br />However, it seems that this borrowing and recycling of older elements, although often masking a lack, if used intelligently can also enrich the creative process and lead to different forms of expression. Any true creator seeks inspiration in the past, its roots serving as a basis for his own talent. <br />Such general considerations-we apologise to the reader if they appear couched in rather simplistic terms-obviously apply to all the various types of popular music labelled Afro-American that sprang up or developed during the last century, that are now labelled jazz. A collective title but a logical one, justified by its historical context, for over the last decades the word &ldquo;jazz&rdquo; has taken on a universal meaning that has watered it down and distanced it from the already somewhat ambiguous term used to describe the music created by black Americans in the 20th century.<br />And, of course when we speak of <em>jazz</em> we also think of <em>blues</em>, that so difficult to define element which is at the heart of all Afro-American music, including that preceding what is literally known as &ldquo;the blues&rdquo;. In order to express the blues, a framework was needed. And the history of jazz/blues is quite simply a story of fortuitous encounters and mutual exchange from which black Americans created something new. During its most creative and popular heyday, roughly between the two World Wars, encouraged by the issue of numerous records, jazz developed at an incredible speed. It seemed to thrive on problems posed by attempting to confine the Negro soul at the heart of the music within a structure where composition began to replace improvisation, alongside the addition of that magical, indefinable but essential element we call <em>swing</em>.<br />Based on increasingly elaborate and complex structures, jazz integrated the blues (one of its most basic roots together with Negro Spirituals) into clearly defined rhythmic, harmonic and melodic outlines, the most common form of the blues, including boogie-woogie, being based on 12 bars. Even before the term &ldquo;jazz&rdquo; was coined and the first attempts to define it, as early as 1910 blues had been written down and played from scores. These composed blues reached their height during the following decade which saw the huge popularity of great classic blues female vocalists such as Bessie and Clara Smith, Ma Rainey, Ida Cox and many others, ephemeral stars of a vogue that was brutally cut short by the 1929 Crash. Thus, while jazz continued to develop, heralding the big band era, the blues returned to its native ghettos, still home to many boogie pianists.<br />We have already covered the history of boogie-woogie in our previous album (1). We would just like to remind the reader that this style of piano playing appeared in the late 19th century but remained more or less underground for decades, heard only in speakeasies, clubs, dance halls and other more or less low dives and at private parties. It is true that several pianist/composers, more musically literate or with one foot in the jazz world, had their work issued either as sheet music or recorded on perforated rolls or on wax but, like the blues, boogie was only bought by the poor black community and so was particularly hit by the Depression.</span></p><br /><p align=justify><span class=Texte>Then out of the blue, several events conspired to turn the spotlight on boogie-woogie. The first came in 1935 when a black American cocktail jazz pianist/vocalist, Cleo Brown, recorded mainly for his own amusement a version of the archetypal <em>Pinetop&rsquo;s Boogie Woogie</em>, recorded earlier in 1928 by its composer, Clarence &ldquo;Pinetop&rdquo; Smith, a few months before he was accidentally killed by a stray bullet! (2) Distributed mainly on the white market Cleo Brown made an immediate hit with listeners who would previously have refused to listen to music of &ldquo;barbarians, so uninteresting and rudimentary that it could only appeal to the Negroes who wiggle their hips to it&rdquo;. At about the same time a small number of young white jazz fans, keen to know more about this unfamiliar authentic black music, unearthed some boogie-woogie records made by hitherto unknown but outstanding musicians. John Hammond, a young critic, future producer and successful talent scout, came across a copy of <em>Honky Tonk Train Blues</em>, another symbolic title cut by Meade Lux Lewis in 1927 (1). Hammond set off to find Lewis and, thanks to a tip-off from fellow pianist Albert Ammons, discovered him working in a car wash in Chicago. Ammons himself had never recorded but he and Lewis found themselves alongside each other in a studio (2).<br />And so this simple deliberately repetitive style, based on a compulsive, unchanging beat, became integrated into the repertoire of jazz bands and hence gained a reputable name with young people and the general public through the somewhat watered-down version played by white swing bands. In no time at all boogie-woogie became the latest dance craze&hellip; after being ignored for so many years. A perfect example of what we mentioned earlier; borrowing (dare we say stealing) something old and dressing it up as something new. Finally boogie-woogie was accepted as an integral part of jazz. And yet there remains a lingering suspicion that some of these bands, musicians and pianists were simply pandering to public demand by artificially tacking this very specific type of music on to their arrangements, rather than using it to enhance jazz and attempting to create something genuinely new. However, without any fuss and uninfluenced by popular taste, boogie-woogie had already infiltrated black orchestras, especially in Kansas City where a vibrant musical night life flourished during the 30s. Here it was not a question of merely copying a piano extract and highlighting it with a special arrangement but of making boogie-woogie a natural part of the orchestration. The purists will probably point out, quite rightly, that pianists such as Count Basie, Mary Lou Williams or Jay McShann no longer relied solely on the walking bass (a line played pizzicato on the double bass in regular crochets in 4/4 meter) to provide them with a set rhythm. But the feeling was the same and there is no doubt that jazz became the richer thanks to boogie-woogie.</span></p><br /><p><span class=Texte>It was in a Kansas City club that <strong>Pete Johnson</strong> (1904-1967) held sway for many years. A boogie pianist who was barely known outside the township, Johnson teamed up with a stupendous blues singer, Big Joe Turner, who was working in the same club as barman and general handyman. John Hammond, having heard about the exciting upsurge of music in Kansas City, went to hear for himself and was astounded by the discovery of Count Basie&rsquo;s big band and the Turner-Johnson duo. He immediately hired them to appear on his legendary &ldquo;From Spirituals to Swing&rdquo; concert that he was in the process of organising at New York&rsquo;s Carnegie Hall in order to present in public, for the first time ever, all the varied aspects of Afro-American music. Naturally, boogie-woogie was featured and, on 23 December 1938, Pete Johnson and Joe Turner found themselves on stage alongside Albert Ammons and Meade Lux Lewis from Chicago. The three pianists played together and then at the opening night of the Caf&eacute; Society, the hip and multiracial club to which all the New York &ldquo;in&rdquo; crowd flocked. At the same time, recording studios immediately opened their doors to them, either together or separately (2). The three pianists created a sensation and, after the kick start given by Cleo Brown, underlined by Tommy Dorsey&rsquo;s powerful big band recording of <em>(Pinetop&rsquo;s) Boogie Woogie</em> at the same time (Sept. 1938) that became a top-selling hit, they gave a huge boost to the boogie-woogie boom.</span></p><br /><p><span class=Texte><span class=Soustitre>THE BOOGIE-WOOGIE CRAZE</span><br />During the Swing era a veritable wind of change swept the music world. The entire country was bitten by the boogie bug. In spite of the odd setback authentic exponents of the genre brought it out into the light of day. After years spent in the dark boogie-woogie now entered its golden age.<br />It could be said that it all started on 23 December 1938 when the Turner-Johnson duo recorded live at the Carnegie Hall before the session in a recording studio a few days later. This was also an important date in the annals of jazz for it was the first time that a great vocalist had sung to the beat of boogie-woogie backed only by a piano. Essentially instrumental, boogie-woogie enabled the accompanying pianist either to embroider on the piece or to accompany a blues singer at an unusually fast tempo. Big Joe Turner actually sang boogie-woogie by absorbing it from his pianist. Along with his fellow musician from Kansas City, Jimmy Rushing, he would become one of the most outstanding blues shouters who, in the early days of R&amp;B expressed themselves so powerfully against a boogie background.<br />Following the Carnegie Hall concert, Pete Johnson&rsquo;s career became closely involved with that of <strong>Albert Ammons</strong> (1907-1949) with whom he cut a series of duos unequalled in the history of boogie, if not of jazz itself (2). To get an idea of the presence and powerful impression made by these two pianists one only has to watch them playing together in the film &ldquo;Boogie Woogie Dream&rdquo;. Shortly before his early death Ammons recorded with Lionel Hampton&rsquo;s big band.</span></p><br /><p><span class=Texte>The success of the Ammons-Johnson-Lewis trio led to the (re)discovery of several pioneers. First, but by no means least, came Lewis&rsquo; mentor, the veteran <strong>Jimmy Yancey</strong> (1894-1951), a remarkable pianist who became a sort of &ldquo;fourth Musketeer&rdquo; of piano boogie, although he never actually teamed up with the others in duo. After his first sides for Victor in 1939 (2), came several other sessions when he played and replayed, with countless variations, the three or four immediately recognisable titles from his repertoire. We have chosen two here, from 1943, both extremely typical of his swinging rhythm and syncopation. After also appearing at the Carnegie Hall in 1948, Yancey became ill and seems exhausted and hesitant on his last recordings Atlantic in 1951. The same year he gave his final concert in Chicago accompanied by his old friend Cripple Clarence Lofton, another pioneer, with Cow Cow Davenport and Montana Taylor with whom he had cut several records during the 40s.<br />Of these great veterans still alive at the time, only <strong>Arthur &ldquo;Montana&rdquo; Taylor</strong> (1903-1955) remained fit enough to play. Disappointed by the lack of recognition (artistic and financial) received by his first two records in 1929, he closed his piano lid for seventeen years. He agreed to record again in 1946, revealing hitherto unknown aspects of his talent (accompanist, singer and inveterate bluesman). <em>Indiana Avenue Stomp</em>, with its flowery melody and regular walking beat is a remake of his 1929 recording. Not only a great blues pianist and one of the best boogie players, he also played mainstream jazz, notably with small formations. <strong>Sammy Price</strong> (1908-1992) was also well known for the brilliant backing he gave to female Gospel singers such as Sister Rosetta Tharpe and Marie Knight (3). We hear him here accompanying Bea Booze in an interpretation of a boogie-woogie classic created by pianist/vocalist Harry &ldquo;Freddie&rdquo; Shayne in 1935, <em>Mr Freddie Blues</em>, reprised in an instrumental version by Meade Lux Lewis the following year (2). The perfect tempo installed by Sammy Price is one of the highlights of this superb rendition. After appearing at the Nice Jazz Festival in 1948, Price stayed on in Paris where he recorded a first extremely varied series of boogies &ndash; others would follow. </span></p><br /><p><span class=Texte>With Sammy Price established as a solid central figure, we now turn to piano jazz and all its different aspects. By now every orchestra and every self-respecting pianist had to include at least one boogie in their repertoire. <strong>Earl Hines</strong> (1903-1983), inventor of the trumpet-piano style with Louis Armstrong and an inspiration for all modern pianists, recorded a memorable <em>Boogie Woogie On St. Louis Blues</em> with his big band in 1940, a veritable concerto for piano boogie and orchestra. Solo in Paris in 1949, he repeated his magnificent variations on this theme, not hesitating to take countless rhythmic liberties, proving that the distinctive style of a great player always shines through the confines of an interpretation. Another great jazz pianist, <strong>Art Tatum</strong> (1909-1956), on a short piece taken at breakneck speed and displaying the staggering virtuosity of his most famous pieces, dares to play it in D, a key considered impossible for a boogie player!<br />In a totally different style but exhibiting the same virtuosity, the young <strong>Erroll Garner</strong> (1921-1977) revealed his own clearly recognisable and inimitable style based on the walking basses. It is equally impossible not to recognise <strong>Nat King Cole</strong> (1917-1965) who used to build his interpretations on a trio formation while always letting his guitarist Oscar Moore, take a solo.<br />Slightly lower down on the scale of piano jazz giants, <strong>Dorothy Donegan</strong> (1922-1998), relatively unknown until her records appeared in Europe in the 70s, yet considered a great jazz pianist by her peers, was an Art Tatum disciple. Her first record, <em>Piano Boogie</em>, recorded when she was only 20 and inspired as much by Pinetop Smith as by Count Basie, is a masterly demonstration of easy swing, delicacy and discipline. <strong>Gene Rodgers</strong> (1910-1987), both an excellent soloist and big band player, is a blend of contrasting influences (Fats Waller, Teddy Wilson, Art Tatum and even Erroll Garner). He is ready to attack any musical style, including boogie, occasionally adding a comic touch as in a short film which he appeared in. However, his <em>G.R. Boogie</em>, with its clever variations on a railroad rhythm, proves that his talent went further than this. <br />The young pianist <strong>Oscar Peterson</strong> (born in 1925) and still living in his native Montreal, had not yet completely developed his own personality. Influenced by both Tatum and Cole, he however already possessed brilliant technique and an impressive left hand, and his interpretations were always impeccably executed, incorporating passages of swing and jazz chords.<br /></span></p><br /><p><span class=Texte>All the names mentioned above can undisputedly be classed as jazz musicians and most of them were entertainers in the true sense of the word. But alongside them were numerous other pianists who were satisfied simply to entertain an audience with little desire to revolutionise anything (apart from King Cole who did so almost without intending to). They preferred to rely on a broad palette of musical styles which they used to great effect to create pieces, insignificant in themselves but often very pleasing. During the 40s numerous pianists (many of them female vocalists) made a name for themselves playing what came to be known as &ldquo;cocktail jazz&rdquo; because it was played in chic night clubs and also because jazz purists dismissed it as &ldquo;blues&rdquo; and blues purists called it &ldquo;jazz&rdquo;! The result was that performers famous during their lifetime now are not mentioned in specialist dictionaries and discographies and have no place in musical annals.<br />Such is the case of a likeable woman and great pianist <strong>Martha Davis</strong> (1917-1960), singer and entertainer who formed a famous duo with her husband, double bassist Calvin Ponder. Films and transcriptions (made for juke boxes with pictures) in which one sees her plump fingers running up and down the keyboard with astonishing ease, are minor masterpieces full of grace, humour and freshness. <em>Martha&rsquo;s Boogie</em> demonstrates her virtuosity, particularly in the left hand, but we have chosen here another vocal piece which, in spite of the sound being oddly out of synchronisation, gives a better idea of her playing.<br /><strong>Hazel Scott</strong> (1920-1988), revealing an equally impressive technique, is also on that artificial fringe that separates jazz from variety (pop). Influenced by Tatum and Wilson, her playing can be brilliant but she shows no desire to add any true dimension to her playing. She did record several boogies but more in the tradition of Cleo Brown than Albert Ammons, revealing a lack of spontaneity and a tendency to rely on the ready-made formulas adopted by several white pianists of the time. However, her <em>Hazel&rsquo;s Boogie Woogie</em> is worth listening to and is much better than some of the stereotyped offerings of her more insipid contemporaries. <br />Hazel Scott was also known for her jazzed-up interpretations of classical music, something that was quite popular at the time and that, Art Tatum for example did very successfully, but the result could sometimes border on the ridiculous. The somewhat ostentatious jazz pianist <strong>Erskine Butterfield</strong> (1913-1961) tried this with boogie, issuing several collections played in the boogie style, including a skilful interpretation based on <em>La Barcarolle</em> from &ldquo;The Tales of Hoffmann&rdquo; (4). Similarly, Pete Johnson and, in particular, Albert Ammons transposed jazz classics and American popular music to boogie quite successfully, respecting both the original and the demands of boogies (<em>Lady Be Good</em>).<br />Too late to benefit from the boogie craze and too young to hitch on to the R&amp;B band wagon, <strong>Sugar Chile Robinson</strong> (born in 1940) appeared like a meteorite in the musical sky but not soon enough. At the age of 2 he could already play the piano, at 5 he appeared in public, at 6 he interpreted the sound track song for a film and at 9 he made his first records! <em>Numbers Boogie</em> reached N&deg;4 of the R&amp;B Top 40. He could have just been dismissed as a nine days&rsquo; wonder, yet his interpretations were amazing for someone of his age, displaying an innocence and freshness and pure joy in playing his instrument. Unfortunately, he was pushed into stardom far too soon and disappeared from the scene a few years later. Then came 50 years of silence&hellip;until his comeback was announced in Detroit!<br />The decade closed with the death of Albert Ammons in 1949. While Pete Johnson continued to champion authentic music on the West Coast, frequently with his old partner Joe Turner, <strong>Meade Lux Lewis</strong> (1905-1964) turned increasingly towards cocktail and piano-bar jazz even though his technique was not sufficiently diverse. In the middle of his erratic repertoire he would suddenly launch into a <em>Honky Tonk Train Blues</em>, played at breakneck speed, in an attempt to impress a disinterested clientele. However, when it suited him, he could still produce something as powerful as <em>Bush Street Boogie</em> from 1954, a veritable tour de force lasting 5&rsquo;30, with no let up which dumbfounds the listener and leaves him exhausted!</span></p><br /><p><span class=Texte><span class=Soustitre>PIANO BOOGIE IN RHYTHM AND BLUES</span><br />Everything came to an end at the same moment: the end of the war, the end of the recording ban, the end of the Swing Era, the end of big bands, the end of the monopoly enjoyed by big recording companies. Not only was the musical world changing drastically but many things had changed for black Americans. They had seen active service in the army, massive emigration to large urban cities, they had formed new communities where musicians had brought new blood to musical forms that had become set in their ways. Within a short space of time jazz and black popular music (blues, Gospel&hellip;) changed radically and the majority of Afro-Americans turned to a more primitive, direct music closer to their roots, soon to be sold as Rhythm &amp; Blues, replacing the pre-war term &ldquo;race records&rdquo;.<br />On one hand was Lionel Hampton&rsquo;s big band (with his pianist Milt Buckner), on the other Louis Jordan&rsquo;s Tympany Five, the most popular band in the country throughout the 40s, which managed to slip easily from one era to another. Although many big bands had folded for financial reasons, small combos flourished particularly on the West Coast and boogie- woogie became an essential element in this musical renaissance. <br />We plan to discuss the integration of piano boogie into these small groups, usually led by the tenor sax later joined by electric guitar, in a later anthology. For the time being we would just like to introduce some characteristic exponents of the genre, either playing solo or with a small backing. Talented musicians who managed to keep alive a musical style that has now become part of history.<br />Among the new generation of boogie specialists perhaps Texan <strong>Amos Milburn</strong> (1926-1980) was the most outstanding. A supple left hand, solid unswerving rhythm, a jumping beat with perfect mastery of the right hand, Milburn&rsquo;s style was a more refined version of that of Pete Johnson and Albert Ammons. His popularity as a singer in the late 40s and early 50s tended to overshadow his brilliance as a boogie-woogie pianist.<br />Two other pianist-vocalists helped to launch R&amp;B on the Californian coast (together with drummer-vocalist Roy Milton). While <strong>Charles Brown</strong> (1922-1999), also from Texas, was first and foremost a sophisticated interpreter of cocktail jazz and ballads, &ldquo;bluesifying&rdquo; Nat King Cole&rsquo;s style, he was also an accomplished instrumentalist (he trained as a classical pianist) so could play boogie without any problem. However, his left hand was less compelling than Milburn&rsquo;s and he turned out each verse almost as if flipping through the pages of a catalogue. He played mainly in trio with guitarist Johnny Moore taking the same role as his brother Oscar with Nat Cole. Contrary to Brown, <strong>Cecil Gant</strong> (1915-1951) from Nashville, was a true piano boogie specialist, even though he had to divide his repertoire into two distinct parts after the phenomenal success of <em>I Wonder</em>: one half vocal ballads, the other powerful instrumental boogie-woogies with a swinging left hand. For many years all the pianist-vocalists on the West Coast would swing between these two extremes. Cecil Gant could produce a very free adaptation of a Pinetop Smith classic, which he called <em>New Cecil Boogie</em>, or a syncopated walking bass incorporating clusters of notes on a highly individual arrangement (<em>Syncopated Boogie</em>).<br /><strong>Hadda Brooks</strong> (1916-2002), an excellent pianist alternating between cocktail jazz and boogie-woogie, was among the first to successfully introduce the latter to the West Coast. Although she appeared in chic night clubs like Nat Cole or Charles Brown, and relied heavily on boogie hits from the early days of her long career, she always played with authenticity and conviction and was also an excellent blues pianist. On the aptly named <em>Swingin&rsquo; The Boogie</em>, played on a rather metallic piano, listen to her crystal-clear high notes, her occasionally repeated chords (reminiscent of Yancy), her varied bass accompaniments and, after a passage of swing, the return to eight-to-the-bar. Hedda Brooks was in a way the link between classic and jazzy boogie with that which, within the nascent R&amp;B in California, would rediscover its black soul.<br />Other female pianists then came to the fore in California. Her contemporary <strong>Nellie Lutcher</strong> (born in 1915) in Louisiana, able to play everything well like her sister artists, was more influenced by the piano jazz of Earl Hines or Teddy Wilson than by boogie-woogie which she only played occasionally. With a dozen or more titles appearing in the charts in the late 40s, Nellie (saxophonist Joe Lutcher&rsquo;s sister) would become one of the great R&amp;B stars. She also appeared in Europe in 1950/51. Her <em>Lake Charles Boogie</em>, referring to her home town and including some original harmonic progressions, is a fine example of her light, delicate, very feminine touch.<br /><strong>Camille Howard</strong>, on the other hand, was a pure boogie-woogie specialist. As the main figure in Roy Milton&rsquo;s combo she was given a free rein, either with the group or in trio. Under her own name she recorded practically only boogies and had several brilliant hits, played with such verve, precision and contrast in the high notes that she has to be ranked among the best.<br />Two Kansas Coty pianists from an earlier generation, Pete Johnson and <strong>Jay McShann</strong> (born in 1909), also moved to California. Both led small formations which often backed vocalists and the later frequently made use of a personal style of rolling bass. This was a cooler, more swinging Kansas City type of boogie relying on a more unobtrusive use of the left hand. Other pianists too accepted the boogie-woogie challenge. The same age as McShann, <strong>Lloyd Glenn</strong> (1909-1985) was already an experienced band musician and accompanist when he cut his first sides under his own name. Keeping his own compositions for a more R&amp;B approach, he preferred to take up well-known themes when he played boogie, rendering homage to Meade Lux Lewis on <em>Honky Tonk Train Blues</em> (to which he adds a little shuffle) while treating <em>Yancey Special</em> with a little more respect. <br />The lesser known pianist <strong>Willard McDaniel</strong> was often used on studio recordings for he had an innate feeling for the blues. Although he also liked to sing and play in the manner of Fats Waller, it is his boogie records that are the most convincing. His playing is well-balance and tasteful, without any unnecessary flourishes.<br /><strong>Little Willie Littlefield</strong> (born in 1931) &ndash; he was 17 when he recorded his <em>Little Willie&rsquo;s Boogie</em> in Houston &ndash; played with huge enthusiasm, his left hand providing a rolling backing for the rippling high notes. After a spell in R&amp;B, Littlefield rather hid himself away in piano bars, only to make a successful reappearance in Europe in the late 70s where he still lives. He is probably one of the last authentic boogie-woogie pianists still alive today.</span></p><br /><p><span class=Texte><span class=Soustitre>BOOGIE-WOOGIE AND THE BLUES</span><br />Not only a source of improvisation for jazzmen and an invigorating force for R&amp;B, boogie also had a place in the repertoire of blues pianists. While it is true that a bluesman was above all a story teller and vocalist, he also had to entertain the clientele in small clubs, bars and juke joints and he sometimes had to bang away on the keyboard to make himself heard above the noise or get the crowd to dance. Although blues pianists are not always technically perfect, when they play boogie they certainly add extra depth, drawing on their personal experience and life stories, something one doesn&rsquo;t find in more skilled pianists.<br />There is a ruggedness in the heavily accentuated bass notes and simple phrasing of <strong>Champion Jack Dupree</strong> (1910-1992), his superb <em>Cabbage Greens</em> redolent of New Orleans. <strong>Roosevelt Sykes</strong> (1906-1983), brought up on Mississippi syncopation and barrelhouse blues, uses frequent breaks to build up a robust, dynamic style, punctuated by contrasting flashes of improvisation. A similar use of syncopation, but more polished and jazzy, is evident in the playing of <strong>Little Brother Montgomery</strong> (1906-1985) heard here on one of his most typical compositions (although the piano seems a little out of tune). Finally, <strong>Big Maceo Merriweather</strong> (1905-1953) introduced boogie into modern Chicago blues. His beautifully constructed, powerful <em>Chicago Breakdown</em> has great backing from Tampa Red on guitar. Before him, in a domain where the piano was not always given much room to express itself, came accompanying pianists such as Joshua Altheimer and Blind John Davis; after him Eddie Boyd, Otis Spann and Little Johnny Jones would become an integral part of blues bands.</span></p><p><br /><span class=Texte><span class=Soustitre>BOOGIE IN NEW ORLEANS<br /></span>Montgomery and Dupree came from New Orleans and Sykes ended up settling there. While all this was happening on the West Coast, the Crescent City was in the process of cooking up a tasty, colourful and spicy dish of R&amp;B which was served up in the early 50s before eventually replacing the ubiquitous Californian sound on the menu. In fact, in order to cash in on their success, numerous musicians moved to the East Coast. Meanwhile, in the far south of Louisiana, amidst all the brass and reeds the piano, having found its place in the rhythm section, was adding new flexibility and smoothness to the whole ensemble.<br />Alongside essential but more marginal figures such as Professor Longhair and Archibald, pianist <strong>Paul Gayten</strong> (1920-1991) led an orchestra that was popular both on stage and with the recording studios. Normally not an outstanding instrumentalist, he offers us here a surprisingly good <em>New Orleans</em>, a revamped version of Cow Cow Davenport&rsquo;s <em>Cow Cow Blues</em> (1).<br />1) But the pianist-vocalist who would contribute the most (with trumpeter and bandleader Dave Bartholomew) was <strong>Antoine &ldquo;Fats&rdquo; Domino</strong> (born in 1928) with a blend of boogie-woogie and Caribbean and Cajun rhythms. The name &ldquo;Fats Domino&rdquo;, even outside R&amp;B and eventually rock &lsquo;n&rsquo; roll became a trade mark in itself. While it was primarily his voice and his songs that ensured him world wide recognition, his rolling piano style should not be underrated. His boogie version of the old American song <em>Swanee River</em>, taken at breakneck speed, although a little short on chords, reveals impressive drive.</span></p><br /><p><span class=Texte>With the dawn of the 50s, it was time for others to take over. Jazz pianists, apart from Sammy Price, had all returned home or moved on to pastures new and the great boogie pioneers, alas, had all died off. But the unchanging, 4-bar boogie beat did not disappear. On the contrary, it began to play a permanent role in popular music based on blues and Gospel. Amplification on one hand, and the increasing importance given to rhythm sections on the other, meant the piano was no longer seen as a separate instrument. The new R&amp;B forms needed orchestras in which a solo pianist no longer had a place. He had to adapt, either by surrounding himself with other musicians or by accompanying a vocalist. Henceforth, boogie piano would find its place within bigger formations. <br />Adapted from the French text <br />by Joyce Waterhouse</span></p><p><span class=Texte><br />Notes:<br />1) See <em>Boogie Woogie Piano</em> (FA 036) where several pianists featured on this new volume are already featured.<br />2) In <em>Boogie Woogie Piano</em> (see above).<br />3) See <em>Complete Sister Rosetta Tharpe Vol. 2</em> (FA 1302), <em>Vol. 3</em> (FA 1303) and <em>Vol. 4</em> (FA 1304).<br />4) This &ldquo;barcarolle&rdquo; was reprised among others, by boogie pianist Camille Howard.</span></p><br /><p><span class=Texte>With special thanks to Jean-Pierre Arniac, Philippe Baudoin, Claude Carri&egrave;re, Jacques Morgantini and Michel Pfau for their loan of sometimes extremely rare records from their collections, and Philippe Le Jeune.</span></p><br /><p><span class=Texte>Photos and collections: Jean-Paul Amouroux, Jean-Pierre Arniac, Jack Bradley, Jacques Dem&ecirc;tre, Art Feher/Jimmy Ernst, James Kriegsmann, Montagne, Jacques Morgantini, Oldie Blues, Gilles P&eacute;tard, Michel Pfau, Paul Rust, <br />Mr. R&amp;B, Billy Vera, X (D.R.).<br /><span class=Source>CD BOOGIE WOOGIE PIANO / NEW YORK - CHICAGO - LOS ANGELES - NEW ORLEANS 1938-1954 Vol.2 &ldquo;THE BOOGIE WOOGIE CRAZE&rdquo;&nbsp;&copy; Fr&eacute;meaux &amp; Associ&eacute;s.</span> </span></p></p></p>"
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      "description" => "<p><p align=justify>&laquo; S&eacute;bastien m&rsquo;a confi&eacute; avoir eu envie de devenir musicien apr&egrave;s avoir assist&eacute; &agrave; un concert de mon orchestre, en Alsace, alors qu&rsquo;il avait 10 ans. <br />Une vingtaine d&rsquo;ann&eacute;es ont pass&eacute; depuis et il est venu &agrave; la maison &agrave; l&rsquo;automne 2013, un disque dans les mains et la fougue sous les doigts. Je suis heureux que cette nouvelle g&eacute;n&eacute;ration continue &agrave; faire vivre avec la m&ecirc;me passion cette musique que j&rsquo;aime tant. &raquo;<br /><strong>Claude BOLLING </strong><br />S&eacute;bastien Troendl&eacute; est un pianiste exigeant et g&eacute;n&eacute;reux qui s&rsquo;inscrit dans les pas de Claude Bolling (figure tut&eacute;laire pour ce jeune musicien). <br />Anim&eacute; par une in&eacute;branlable passion, sa vocation est de partager l&rsquo;authenticit&eacute; du ragtime et du boogie, musiques qui ont &eacute;merg&eacute; dans les barrelhouses des ghettos noirs bordant le Mississippi et qui sont aux sources du jazz et du rhythm &amp; blues, genres majeurs du XXe si&egrave;cle. <br /><strong>Patrick FRÉMEAUX </strong><br />Émergeant &agrave; la fin du XIXe si&egrave;cle, le ragtime est le fruit du m&eacute;tissage entre les musiques de marche et les valses populaires europ&eacute;ennes, et les sayn&egrave;tes noires afro am&eacute;ricaines, les cake walks. <br />Le ragtime conjugue un sens prononc&eacute; de la syncope et une polyrythmie d&rsquo;essence africaine, avec des harmoniques complexes issues du classique. <br />Ce genre influen&ccedil;a grandement le jazz &agrave; travers le stride, style embl&eacute;matique du Harlem des ann&eacute;es 1920. Le boogie-woogie est une sorte de &laquo; piano blues &raquo;, empruntant la syncope du ragtime et la portant &agrave; son paroxysme.<br />Son impact sur la musique populaire du XXe si&egrave;cle est important car son influence y est pour beaucoup dans l&rsquo;&eacute;mergence du rock &amp; roll, du blues de Chicago, jusqu&rsquo;au ska jamaicain. <br /><strong>Augustin BONDOUX</strong><br /><em>&ldquo;S&eacute;bastien told me he wanted to become a musician after going to see a concert my orchestra played in Alsace when he was ten&hellip; Twenty years have gone by since then, and he came to my home in autumn 2013 with a record in his hand and a lot of fire in his fingers. I&rsquo;m happy this new gene ra tion is still bringing the same passion to this music I love so much.&rdquo;</em><br /><strong>Claude BOLLING </strong><br /><em>S&eacute;bastien Troendl&eacute; is a demanding, generous pianist who&rsquo;s following in the steps of Claude Bolling (a guardian-figure for this young musician.) His passion is unshakeable, and his vocation is to share the authenticity of Ragtime and Boogie, the music-styles which emerged in the barrelhouses of ghettoes along the Mississippi and lie at the source of Jazz and Rhythm &amp; Blues, both of them major 20th century genres</em>.<br /><strong>Patrick FRÉMEAUX </strong><br /><strong>BOOKING : TIFFANY MACQUART</strong></p><p align=justify><strong>DROITS : FREMEAUX &amp; ASSOCIES EN ASSORD SEBASTIEN TROENDLE.<br /></strong><br />RAG&rsquo;N BOOGIE &bull; CANADIAN CAPERS &bull; OLD FASHIONED &bull; KITTEN ON THE KEYS &bull; 3/4 6/8 BOOGIE &bull; MY OWN BLUES &bull; DEATH RAY BOOGIE &bull; MISSISSIPPI RAG &bull; THE PERFECT RAG &bull; BEEBO&rsquo;S BOOGIE &bull; MAPLE LEAF RAG &bull; GO STRAIGHT FOR IT &bull; WAITING FOR THE ROBERT E. LEE &bull; BOOGIE-WOOGIE STOMP &bull; HARLEM STRUT.</p><p align=justify><br /></p><p align=justify><strong>Rag&rsquo;n Boogie<br />Un spectacle musical tout public d&egrave;s 12 ans &bull; 1h15</strong><br />- 16 novembre 2020 &agrave; la Lanterne de Rambouillet (78)<br />- Les 3 et 10 octobre aux Trois Baudets (75)<br /></p></p><br><br>"
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      "dwf_livret" => "<h3>Rag'n boogie FA8507</h3><span class=Soustitre2>Sébastien Troendlé <br />RAG’N BOOGIE<br />PIANO SOLO</span><span class=Texte><br /></span><p align=justify><strong><span class=Texte>Rag’n Boogie l’album </span></strong><br /><span class=Texte>J’ai découvert le ragtime et le boogie-woogie à travers les albums de Claude Bolling lorsque j’étais enfant. Je me souviens encore des frissons qui parcouraient mon corps à leur écoute, ceux-là même qui m’accompagnent fidèlement depuis toutes ces années.</span><br /><span class=Texte>Cet album est l’aboutissement d’un travail minutieux et d’une persévérance d’autant plus grande que j’ai souhaité le proposer en piano solo. Gage, à mes yeux, de l’authenticité et de la vitalité de ces musiques.</span><br /><span class=Texte>J’espère que vous allez prendre autant de plaisir à écouter cet album que j’en ai pris à l’enregistrer.</span><br /><span class=Texte>Let’s Rag’n Boogie    <br /><strong>Sébastien Troendlé </strong></span><br /><strong><span class=Texte>Rag’n Boogie, the album </span></strong><br /><span class=Texte>I discovered Ragtime and Boogie-Woogie listening to albums by Claude Bolling when I was a child. I can still remember the thrill that went through me when I heard them, the same thrills that have been faithfully accompanying me all these years. This album is the outcome of meticulous efforts, and also a perseverance which is all the greater for the fact that I wanted to present my work as a solo piano album… which, in my view, is a guarantee of the authenticity and vitality of these music-genres. I hope you take as much pleasure listening to this album as I did when I was recording it. Let’s Rag’n Boogie…    <br /><strong>Sébastien Troendlé </strong></span><br /><span class=Texte>Je voudrais remercier toutes les personnes sans lesquelles cet album n’aurait pu voir le jour : ma compagne, mes parents, mon frère, et toute ma famille. Jean Fassina, Claude Bolling. Tous les pianistes (Scott Joplin, Albert Ammons, Meade Lux Lewis, Ferdinand « Jelly Roll » Morton…) qui ont sué sang et eau pour créer le Ragtime et le Boogie-Woogie dans des conditions de vie qui méritent une considération et un respect éternel. Patrick Frémeaux et Augustin Bondoux de Frémeaux & Associés pour leur confiance.</span><br /><span class=Texte>I should like to thank all those people without whom this album would never have seen the light: my partner, my parents, my brother, and all my family; Jean Fassina; Claude Bolling; all the pianists (Scott Joplin, Albert Ammons, Meade Lux Lewis, Ferdinand “Jelly Roll” Morton…) who sweated blood and water creating Ragtime and Boogie-Woogie in living-conditions which deserve our eternal consideration and respect; and Frémeaux & Associés for their trust.</span><br /><span class=Texte>Mastering : Didier Houbre au Downtown studio (Strasbourg) en juillet 2013</span><br /><span class=Texte>Enregistrement et mixage : Éric Gauthier-Lafaye au Downtown Studios (Strasbourg) entre avril et juin 2013</span><br /><span class=Texte>Production : Sébastien Troendlé</span><br /><span class=Texte>Éditeur-Distributeur : Frémeaux & Associés</span><br /><span class=Texte>Droits producteur : Groupe Frémeaux Colombini SAS</span><br /><span class=Texte>Booking-Management : Tiffany Macquart</span><br /><span class=Texte><strong>1.    Rag’n Boogie</strong> (Sébastien Troendlé)    2:25</span><br /><span class=Texte>    © Frémeaux & Associés    </span><br /><span class=Texte><strong>2.    Canadian Capers </strong>(Chandler, White et Cohen)    4:21</span><br /><span class=Texte>    Domaine Public (compositeur original Sid Leproti)</span><br /><strong><br /></strong><span class=Texte><strong>3.    Old Fashione</strong>d (Paul De Senneville / Olivier Toussaint)    1:53</span><br /><span class=Texte>    © EMHA/Editions Delphine</span><br /><strong><br /></strong><span class=Texte><strong>4.    Kitten on the keys</strong> (Zez Confrey)    3:20</span><br /><span class=Texte>    Domaine Public</span><br /><span class=Texte><strong>5.    3/4 6/8 Boogie</strong> (Claude Bolling)    3:32</span><br /><span class=Texte>    © Claude Bolling</span><br /><span class=Texte><strong>6.    My own blues</strong> (Christian Willisohn)    3:10</span><br /><span class=Texte>    © Christian Willisohn</span><br /><strong><br /></strong><span class=Texte><strong>7.    Death Ray Boogie</strong> (Pete Johnson)    2:57</span><br /><span class=Texte>    © Universal</span><br /><strong><br /></strong><span class=Texte><strong>8.    Mississippi Rag</strong> (William H. Crell)    2:53</span><br /><span class=Texte>    Domaine Public</span><br /><span class=Texte><strong>9.    The perfect Rag </strong>(Ferdinand « Jelly Roll » Morton)    2:58</span><br /><span class=Texte>    Domaine Public</span><br /><span class=Texte><strong>10.    Beebo’s Boogie </strong>(Christian Willisohn)    3:18</span><br /><span class=Texte>    © Christian Willisohn</span><br /><strong><br /></strong><span class=Texte><strong>11.    Maple Leaf Rag </strong>(Scott Joplin)    3:15</span><br /><span class=Texte>    Domaine Public</span><br /><span class=Texte><strong>12.    Go Straight for it</strong> (Christian Willisohn)    2:30</span><br /><span class=Texte>    © Christian Willisohn</span><br /><strong><br /></strong><span class=Texte><strong>13.    Waiting for the Robert E. Lee</strong> (Lewis F Muir)    2:47</span><br /><span class=Texte>    Domaine Public</span><br /><strong><br /></strong><span class=Texte><strong>14.    Boogie-Woogie Stomp</strong> (Albert Ammons)    3:55</span><br /><span class=Texte>    © EMI Music Publishing France</span><br /><span class=Texte>    Universal Mca Music Publishing </span><br /><span class=Texte><strong>15.    Harlem Strut</strong> (James P. Johnson)    2:15</span><br /><span class=Texte>    © James P. Johnson    </span><br /><span class=Texte>Dans une démarche globale de promotion du ragtime, du boogie-woogie et de préservation de ce patrimoine musical Rag’n Boogie c’est aussi…</span><br /><span class=Soustitre><br />Un spectacle </span><br /><span class=Texte>Quand un pianiste virtuose et hétéroclite, formé à l’École de Jazz de Bâle aussi bien qu’à l’école de la route, part sur la trace du son des origines – les siennes, et celles du jazz… cela donne Rag’n Boogie, un spectacle émaillé d’anecdotes et de cascades de notes, débordant de rythme et de mélodies, de drôlerie et de nostalgie.</span><br /><span class=Texte>Sébastien Troendlé y délivre les plus belles pages du ragtime et du boogie-woogie, deux styles qui ont fait fureur dans les «barrel-houses» du Sud des États-Unis voici un siècle. Composés par des Noirs à la vie jamais facile, joués devant un public frénétique, ces morceaux entêtants ont traversé les âges avec une fraîcheur intacte, cent ans après avoir déterminé l’éclosion du jazz et irrigué l’histoire des musiques populaires du XXe siècle.</span><br /><span class=Texte>On apprend lors du spectacle de Sébastien Troendlé que le ragtime est une musique écrite et raffinée, née d’une fusion entre musique afro-américaine et musique de chambre occidentale, tandis que le boogie-woogie tire ses racines du blues improvisé.</span><br /><span class=Texte>On y plonge dans le quotidien des Noirs du Sud, tout juste sortis de l’esclavage officiel pour passer à l’esclavage salarié, victimes du racisme et de la misère : un contexte douloureux d’où vont pourtant sortir des pages ô combien joyeuses et pleines de subtilités. Images d’archives, récits, anecdotes sont là pour planter le décor et emporter le public dans un véritable voyage à travers le temps.</span><br /><span class=Texte>Et surtout, on écarquille les yeux en observant les doigts de Sébastien parcourir le clavier de son piano avec une agilité confondante… </span><br /><span class=Texte>On bat des mains pour accompagner les airs irrésistibles qui se dégagent de l’instrument… On exulte à partager le plaisir d’un musicien pénétré corps et âme par ces morceaux. Et on ressort avec la conviction que la Musique est décidément un merveilleux outil de transmission et de rencontre, capable de faire ressurgir toute l’âme d’une culture et de son histoire.</span><br /><span class=Soustitre>Des interventions pédagogiques </span><br /><span class=Texte>Sébastien a également souhaité mettre son expérience et sa passion au profit de l’enseignement en élaborant un projet pédagogique (dossier et atelier) à destination des écoles primaires, collèges, lycées et écoles de musique.</span><br /><span class=Texte>L’atelier, préparé en partenariat avec l’équipe pédagogique du lieu d’accueil, est une initiation aux musiques les plus populaires nées aux États-Unis à la fin du 19e siècle : le ragtime et le boogie-woogie.</span><br /><span class=Texte>Cette proposition s’articule autour de trois axes :</span><br /><span class=Texte>– L’Histoire : découvrir l’histoire des Afro-américains au début du siècle dernier.</span><br /><span class=Texte>– Le piano : découvrir le piano et les techniques pianistiques.</span><br /><span class=Texte>– La musique : reconnaître et identifier les influences de différents styles de musique.</span><br /><span class=Texte>Parallèlement à la découverte d’une musique oubliée, l’ambition de ce projet est d’apporter une ouverture d’esprit aux élèves en révélant les liens entre les différentes matières de leur programme scolaire. </span><br /><span class=Texte>La découverte « physique » du piano et le récit d’anecdotes liées à cette période de l’histoire donnent des pistes de réflexions sur des thématiques aussi importantes que le racisme, la discrimination, la privation des libertés…</span><br /><span class=Texte>Plutôt que d’être un « consommateur de musique », il s’agit de comprendre de manière ludique comment l’histoire a influencé la musique et inversement.</span><br /><span class=Soustitre>Un recueil de partitions </span><br /><span class=Texte>À destination des pianistes confirmés, il s’agit des transcriptions exactes des morceaux de l’album Rag’n Boogie. Vous y trouverez en plus des doigtés, des conseils de travail, de posture et de phrasé afin de découvrir ou approfondir ce répertoire.</span><br /><span class=Soustitre><br />Une méthode de Boogie-Woogie</span><br /><span class=Texte>Adaptée à tous les pianistes, cette méthode propose des compositions de Sébastien Troendlé, déclinées en quatre niveaux :</span><br /><span class=Texte>débutant, moyen 1, moyen 2, avancé. En plus de conseils précis et d’astuces pianistiques vous permettant de travailler le «vrai» boogie-woogie, des vidéos seront mises à votre disposition en version « mains séparées », « vitesse lente » et « vitesse normale ».</span><br /><span class=Texte>Informations et contacts : www.sebastientroendle.com</span><br /><span class=Soustitre>Biographie de Sébastien Troendlé</span><br /><span class=Texte>Pianiste diplômé du Conservatoire de l’Académie de Bâle, Sébastien Troendlé alimente son éclectisme en collaborant depuis toujours à de nombreux projets allant du jazz au reggae en passant par la chanson française et le blues.</span><br /><span class=Texte>Musicien avant même d’être instrumentiste, il investit la scène autant que le studio et travaille régulièrement en tant que compositeur, arrangeur et directeur musical. Il a tourné 9 ans dans le groupe de reggae suisse Famara et a produit 4 albums sous son label dont son premier album solo, « mes têtes », sorti en 2003. Sébastien est aussi un pédagogue confirmé et a expérimenté le rapport Danse/Musique en tant que pianiste-accompagnateur pendant 5 ans.</span><br /><span class=Texte>Sensible aux spécificités régionales, il a rejoint l’équipe du théâtre de la Chouc’ en tant que pianiste dans la revue satirique alsacienne et comédien dans la pièce La Chère Main de Germain mise en scène par Sébastien Bizzotto.</span><br /><span class=Texte>Il tourne avec son duo de blues Strings for Two et propose également un ciné-concert sur Faust de F.W. Murnau.</span><br /><span class=Texte>A pianist with a diploma from the Basel Academy Conservatory, Sébastien Troendlé has nourished his eclecticism since the beginning with many projects ranging from jazz to reggae, and including French song and the blues. </span><br /><span class=Texte>A musician even before he was an instrumentalist, he has constantly been involved with stage and studio alike, and has worked regularly as a composer, arranger and musical director. He spent nine years touring with the Swiss reggae group Famara, and has produced four albums for his own label including his first solo album, “mes têtes”, which was released in 2003. Sébastien also has a firm commitment to teaching, and tested the Dance/Music relationship over a period of five years as a pianist and accompanist. His feeling for regional specificities led him to join the Théâtre de la Chouc’ team in Alsace, playing piano in their satirical revue, and he also appeared in an acting role in the play La Chère Main de Germain, staged by Sébastien Bizzotto. </span><br /><span class=Texte>Sébastien tours with his blues duo «Strings for Two» and also proposes a cine-concert based on F.W. Murnau’s “Faust”.</span><br /><span class=Texte>Émergeant à la fin du XIXe siècle, le ragtime est le fruit du métissage entre les musiques </span><br /><span class=Texte>de marche et les valses populaires européennes, et les saynètes noires afro américaines, les cake walks. Le ragtime conjugue un sens prononcé de la syncope et une polyrythmie d’essence africaine, avec des harmoniques complexes issues du classique. </span><br /><span class=Texte>Ce genre influença grandement le jazz à travers le stride, </span><span class=Texte>style emblématique du Harlem des années 1920.</span><br /><span class=Texte>Le boogie-woogie est une sorte de « piano blues », empruntant la syncope du ragtime et la portant à son paroxysme. Son impact sur la musique populaire du XXe siècle est important car son influence y est pour beaucoup dans l’émergence du rock & roll, </span><span class=Texte>du blues de Chicago, jusqu’au ska jamaicain. </span><br /><strong><span class=Texte>Augustin BONDOUX</span></strong><br /><span class=Texte>« Sébastien m’a confié avoir eu envie de devenir musicien après avoir assisté à un concert de mon orchestre, en Alsace, alors qu’il avait 10 ans. Une vingtaine d’années ont passé depuis et il est venu à la maison à l’automne 2013, un disque dans les mains et la fougue sous les doigts. Je suis heureux que cette nouvelle génération continue à faire vivre avec la même passion cette musique que j’aime tant. » <br /><strong>Claude BOLLING</strong></span><br /><span class=Texte>“Sébastien told me he wanted to become a musician after going to see a concert my orchestra played in Alsace when he was ten… </span><span class=Texte>Twenty years have gone by since then, and he came to my home in autumn 2013 with a record in his hand and a lot of fire in his fingers. I’m happy this new gene-ra-tion is still bringing the same passion to this music I love so much.” </span><br /><strong><span class=Texte>Claude BOLLING</span></strong><br /><span class=Texte>Sébastien Troendlé est un pianiste exigeant et généreux qui s’inscrit dans les pas de Claude Bolling (figure tutélaire pour ce jeune musicien). Animé par une inébranlable passion, sa vocation est de partager l’authenticité du ragtime et du boogie, musiques qui ont émergé dans les barrelhouses des ghettos noirs bordant le Mississippi et qui sont aux sources du jazz et du rhythm & blues, genres majeurs du XXe siècle.</span><br /><strong><span class=Texte>Patrick FRÉMEAUX</span></strong><br /><span class=Texte>Sébastien Troendlé is a demanding, generous pianist who’s following in the steps of Claude Bolling (a guardian-figure for this young musician.) His passion is unshakeable, and his vocation is to share the authenticity of Ragtime and Boogie, the music-styles which emerged in the barrelhouses of ghettoes along the Mississippi and lie at the source of Jazz and Rhythm & Blues, both of them major 20th century genres.    <br /><strong>Patrick FRÉMEAUX</strong></span><br /></p><span class=Source><br />CD Rag'n boogie, piano solo, Sébastien Troendlé © Frémeaux & Associés 2014</span><br />"
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      "description" => "<p><p style=\text-align: justify;>Apr&egrave;s un rafraichissant &laquo; Rag&rsquo;n Boogie &raquo; (FA8507), unanimement salu&eacute;, voici le grand retour sur disque de S&eacute;bastien Troendl&eacute;, vrombissant pianiste qui a la foudre au bout des doigts. S&eacute;bastien Troendl&eacute; poss&egrave;de, en sus d&rsquo;un feeling immense, une irr&eacute;ductible vocation de transmettre son amour pour le Boogie- Woogie, auquel il a d&eacute;di&eacute; une m&eacute;thode (publi&eacute;e aux &eacute;ditions Henry Lemoine) et qui lui a fait &eacute;cumer la plan&egrave;te enti&egrave;re avec spectacles (Avignon), concerts et masterclasses (dont une apparition remarqu&eacute;e au &laquo; Scott Joplin Festival &raquo; 2016 &agrave; Sedala, Missouri). Il offre a &laquo; Boogies on the ball &raquo; 14 compositions bondissantes, qui s&rsquo;inscrivent dans l&rsquo;intemporalit&eacute; et l&rsquo;universalit&eacute; de cette musique ind&eacute;modable.&nbsp;</p><p style=\text-align: justify;><strong>Augustin BONDOUX &amp; Patrick FRÉMEAUX&nbsp;</strong></p><p style=\text-align: justify;><p style=color: rgb(51, 51, 51); font-family: arial, helvetica, sans-serif; font-size: 11px; background-color: rgb(255, 255, 255);><strong><br /></strong></p><p style=color: rgb(51, 51, 51); font-family: arial, helvetica, sans-serif; font-size: 11px; background-color: rgb(255, 255, 255);><strong>PRODUCTION : SEBASTIEN TROENDLE POUR FREMEAUX &amp; ASSOCIES.</strong></p><p style=color: rgb(51, 51, 51); font-family: arial, helvetica, sans-serif; font-size: 11px; background-color: rgb(255, 255, 255);><strong>BOOKING : TIFFANY MACQUART&nbsp;</strong></p><p style=color: rgb(51, 51, 51); font-family: arial, helvetica, sans-serif; font-size: 11px; background-color: rgb(255, 255, 255);><strong>EDITION : FREMEAUX &amp; ASSOCIES ET HENRY LEMOINE</strong></p><p style=color: rgb(51, 51, 51); font-family: arial, helvetica, sans-serif; font-size: 11px; background-color: rgb(255, 255, 255);><strong>DROITS : FREMEAUX &amp; ASSOCIES EN ACCORD AVEC SEBASTIEN TROENDLE</strong></p></p><p style=\text-align: justify;><strong><br /></strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;><em>After the unanimous welcome given to the refreshing &ldquo;Rag&rsquo;n Boogie&rdquo; album (FA8507), this new &ldquo;Boogies on the Ball&rdquo; marks a great return to the studios by S&eacute;bastien Troendl&eacute;, and it shows: he&rsquo;s a rumbling pianist with thunder at his fingertips, immense feeling, and an unwavering vocation for handing down his love for boogie woogie. S&eacute;bastien even wrote a method for the style (published by Henry Lemoine) and he has played the boogie genre worldwide in shows (Avignon), concerts and master classes that include his noticeable appearance at the 2016 Scott Joplin Festival in Sedala, Missouri, USA. &ldquo;Boogies on the Ball&rdquo; has 14 leaping titles, all of them timeless classics in a universe where this music has never been out of fashion.&nbsp;</em></p><p style=\text-align: justify;><em><strong>Augustin BONDOUX &amp; Patrick FRÉMEAUX</strong></em></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>A LA LA ! &bull; WINTER BOOGIE &bull; BOOGAUDEBUT RAGALAFIN &bull; WOODYWOOD PECKER BOOGIE &bull; TENDINITE BLUES &bull; BOOGIE ON THE BALL &bull; CHAPEL STREET BOOGIE &bull; GROSSE GAUCHE &bull; CHARLIE&rsquo;S BOOGIE &bull; SORTI DU FOUR &bull; LET THE LEFT HAND ROLL &bull; AFRICAN DREAM &bull; C&rsquo;EST SI BEMOL &bull; QUELQUES FLOCONS.</p></p><br><br>"
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      "dwf_livret" => "<h3>fa8537 TROENDLE</h3><p align=justify><span class=Soustitre2><br />Boogies on the ball</span><br /><span class=Soustitre2><br />S&eacute;bastien Troendl&eacute; </span><br /><span class=Texte>1 A La la ! 5:56</span><br /><span class=Texte>2 Winter Boogie 3:29</span><br /><span class=Texte>3 Boogaudebut Ragalafin 3:07</span><br /><span class=Texte>4 Woodywood Pecker Boogie 5:10</span><br /><span class=Texte>5 Tendinite Blues 5:53</span><br /><span class=Texte>6 Boogie on the Ball 3:50</span><br /><span class=Texte>7 Chapel Street Boogie 4:31</span><br /><span class=Texte>8 Grosse gauche 3:21</span><br /><span class=Texte>9 Charlie&rsquo;s Boogie 5:24</span><br /><span class=Texte>10 Sorti du four 2:51</span><br /><span class=Texte>11 Let the left hand Roll 5:32</span><br /><span class=Texte>12 African Dream 6:06</span><br /><span class=Texte>13 C&rsquo;est si bemol 3:26</span><br /><span class=Texte>14 Quelques flocons 2:38</span><br /><span class=Texte>C&rsquo;est avec la m&ecirc;me passion qui m&rsquo;a pouss&eacute;e &agrave; &eacute;crire un spectacle, une m&eacute;thode de Boogie-Woogie </span><span class=Texte>(parue aux &eacute;ditons Henry Lemoine en 2016), et un livre illustr&eacute;, que j&rsquo;ai franchi la porte du studio </span><span class=Texte>pour enregistrer ce nouvel album avec des compositions et des improvisations dans le style Boogie-Woogie. </span><br /><span class=Texte>C&rsquo;est en piano solo que cette musique me donne le plus de frissons. J&rsquo;ai donc enregistr&eacute; Boogies on the Ball </span><span class=Texte>avec mes tripes et mes doigts pour respecter l&rsquo;&eacute;nergie du live, le tout sur ballon bien-s&ucirc;r ! </span><br /><span class=Texte>La qualit&eacute; du son a &eacute;t&eacute; une grande pr&eacute;occupation et c&rsquo;est gr&acirc;ce aux Pianos Ades-Prestel (Colmar) </span><span class=Texte>et du soutien de Pierre Bertaut que j&rsquo;ai pu jouer sur un piano Fazioli.</span><br /><span class=Texte>J&rsquo;esp&egrave;re que vous allez prendre autant de plaisir &agrave; &eacute;couter cet album que j&rsquo;en ai eu &agrave; le concevoir et l&rsquo;enregistrer.</span><br /><span class=Texte>Merci &agrave; Augustin et Patrick pour leur confiance &agrave; long terme.</span><br /><span class=Texte>The same passion that moved me to compose a show, publish a Boogie Woogie method (Eds. Henry Lemoine, 2016) </span><span class=Texte>and also write an illustrated book, made me go into the studios to record this new album </span><span class=Texte>with compositions or improvisations in the Boogie Woogie style. </span><span class=Texte>It is in piano solo that Boogie gives me the biggest thrill, so I put my heart and fingers, </span><span class=Texte>everything I had, into &ldquo;Boogies on the Ball&rdquo; in an attempt to respect and reproduce the energy of a live recording. </span><span class=Texte>And stay on the ball, of course! The sound quality was of major importance to me; </span><span class=Texte>thanks to Ades-Prestel Pianos in Colmar and the support of Pierre Bertaut I was able to play an instrument made by Fazioli. </span><br /><span class=Texte>I hope you have as much pleasure listening to this album as I had when I conceived and recorded it. </span><br /><span class=Texte>Thanks to Augustin and Patrick for their long-term confidence in me.</span><br /><span class=Soustitre>compositions de sebastien troendle</span><br /><span class=Texte>Pour les musiciens A signifie la tonalit&eacute; de la. A la la, il en faut dans tous les tons.</span><br /><span class=Texte>C&rsquo;est un hasard complet mais je me retrouve en studio syst&eacute;matiquement pendant la p&eacute;riode hivernale, en t&eacute;moigne le Winter Boogie.</span><br /><span class=Texte>Vous vous souvenez du pivert et de son c&eacute;l&egrave;bre g&eacute;n&eacute;rique ? Hommage &agrave; ce picidae qui a berc&eacute; mon enfance avec le Woodywood Pecker Boogie.</span><br /><span class=Texte>Bande-son du cauchemar de tout pianiste. Pour moi &ccedil;a n&rsquo;a &eacute;t&eacute; qu&rsquo;une alerte mais &ccedil;a m&rsquo;a inspir&eacute; ce Tendinite Blues.</span><br /><span class=Texte>Qui dit probl&egrave;me dit solution. Probl&egrave;me de dos ? Boogie on the Ball.</span><br /><span class=Texte>C&rsquo;est de l&agrave; que tout part, rue de la Chapelle. Bienvenue &agrave; Chapel Street Boogie.</span><br /><span class=Texte>Autre hommage, &agrave; la libert&eacute;&hellip; de penser, Charlie&rsquo;s Boogie.</span><br /><span class=Texte>C&rsquo;est tout doux, tout en rondeur, on laisse rouler la main gauche et c&rsquo;est parti pour le voyage, Let the left hand roll.</span><br /><span class=Texte>Majeur, mineur, maneur, mijeur, je ne suis jamais all&eacute; en Afrique noire pour le moment mais j&rsquo;en r&ecirc;ve. African Dream.</span><br /><span class=Texte>&Agrave; l&rsquo;impro, comme dans les fins de soir&eacute;es, les titres restants qui viennent se glisser tout au long de l&rsquo;album, nous transportent directement dans une jam, </span><br /><span class=Texte>un b&oelig;uf tels qu&rsquo;on les conna&icirc;t dans les festivals du monde entier, clin d&rsquo;&oelig;il &agrave; eux et &agrave; ceux qui les font vivre.</span><br /><span class=Texte>Grosse gauche : en alsacien &ccedil;a veut dire &laquo;&thinsp;grande gueule&thinsp;&raquo;, ici il s&rsquo;agit de la main !</span><br /><span class=Texte>Sorti du four : c&rsquo;est tout frais, encore un peu chaud.</span><br /><span class=Texte>Boogaudebut Ragalafin : c&rsquo;est clair non ?</span><br /><span class=Texte>Quelques flocons : inspiration de la p&eacute;riode hivernale.</span><br /><span class=Texte>C&rsquo;est si bemol : une fois de plus pour les musiciens</span><br /><span class=Soustitre>sebastien Troendle compositions</span><br /><span class=Texte>For musicians A is the key of o tune (in French, &ldquo;LA&rdquo;.) A LA LA, you need that in every key.</span><br /><span class=Texte>Totally by accident I found myself in the studios throughout the winter, hence WINTER BOOGIE.</span><br /><span class=Texte>Do you remember the famous woodpecker&rsquo;s cry in the cartoons?&nbsp; A homage to the picidae who rocked my childhood, with WOODY WOODPECKER BOOGIE.</span><br /><span class=Texte>The soundtrack for every pianist&rsquo;s nightmare&hellip; For me it just looked like tendinitis but it inspired this TENDINITE BLUES.</span><br /><span class=Texte>There&rsquo;s a solution to every problem. Back problems? BOOGIE ON THE BALL.</span><br /><span class=Texte>For me everything started on the rue de la Chapelle. Welcome to CHAPEL STREET BOOGIE.</span><br /><span class=Texte>Another tribute, this time to freedom&hellip; to think, with CHARLIE&rsquo;S BOOGIE.</span><br /><span class=Texte>It&rsquo;s gentle, nice and round, and if you&rsquo;re ready LET THE LEFT HAND ROLL.</span><br /><span class=Texte>Major, minor, manor, mijor, never been to Black Africa so far but I dream about it: AFRICAN DREAM.</span><br /><span class=Texte>When you&rsquo;re improvising, like people do in the afterparty, the remaining tunes that come and slip in all the way through the album can take you straight into a jam like the ones in festivals all round the world. This is a nod to those festivals and those who bring them to life.</span><br /><span class=Texte>GROSSE GAUCHE - In Alsace this means &ldquo;a big mouth&rdquo; but here it&rsquo;s the left hand!</span><br /><span class=Texte>SORTI DU FOUR - So fresh it&rsquo;s just out of the oven (still a little bit warm).</span><br /><span class=Texte>BOOGAUDEBUT RAGALAFIN - Self-explanatory French title, right? [Boogieatthestart, ragattheend].</span><br /><span class=Texte>QUELQUES FLOCONS - Snowflakes. Inspired by the winter months.</span><br /><span class=Texte>C&rsquo;EST SI BEMOL - Another note for musicians (this time a B flat.) &nbsp;</span><br /><span class=Soustitre><br />credits et remerciements</span><strong><br /></strong><br /><span class=Texte>Mastering : Mathieu Pelletier au Downtown studios (Strasbourg) en janvier 2017</span><br /><span class=Texte>Enregistrement et mixage : Éric Gauthier-Lafaye au Downtown studios (Strasbourg) entre d&eacute;cembre 2016 et janvier 2017 </span><br /><span class=Texte>Photos : Sabine Trensz (www.sabinetrensz.com)</span><br /><span class=Texte>Graphisme : Oph&eacute;lie Étienne</span><br /><span class=Texte>Production : S&eacute;bastien Troendl&eacute;</span><br /><span class=Texte>Éditeur-Distributeur : Fr&eacute;meaux &amp; Associ&eacute;s</span><br /><span class=Texte>Droits producteur : Groupe Fr&eacute;meaux Colombini SAS</span><br /><span class=Texte>Booking : Tiffany Macquart (www.tiffany-macquart.com)</span><br /><span class=Texte>Mes remerciements les plus sinc&egrave;res vont &agrave; Tiffany, mes parents, mon fr&egrave;re, mes amis et toute ma famille pour leur soutien sans faille. </span><br /><span class=Texte>Famille de sang mais aussi de c&oelig;ur puisque ce qui est fabuleux dans la vie c&rsquo;est que la famille ne fait que s&rsquo;agrandir avec le temps : </span><br /><span class=Texte>tous ceux qui me suivent dans mes projets aussi divers qu&rsquo;inattendus, Mathias et Ornella de Machette Production, </span><br /><span class=Texte>ceux que l&rsquo;on rencontre sur les routes, les coll&egrave;gues pianistes&hellip; </span><br /><span class=Texte>Sans oublier ceux qui ont su&eacute; sang et eau pour imaginer une musique si radieuse dans des conditions de vie qui forcent au respect.</span><br /><span class=Texte>My sincerest thanks go to Tiffany, my parents, my brother, my friends and my whole family for their unfailing support. </span><br /><span class=Texte>Not only my relatives but also the wider family, because the fabulous thing in life is that &ldquo;family&rdquo; just grows bigger with time: </span><br /><span class=Texte>everyone who has followed me in projects as varied as they were unexpected, Mathias and Ornella from Machette Production , </span><br /><span class=Texte>people I&rsquo;ve met on the road, fellow-pianists&hellip; </span><br /><span class=Texte>not forgetting those who sweated blood to imagine such a magnificent form of music in conditions that command our respect. </span><br /><span class=Soustitre><br />Biographie</span><br /><span class=Texte>Pianiste fran&ccedil;ais dipl&ocirc;m&eacute; du Conservatoire de l&rsquo;Acad&eacute;mie de B&acirc;le, S&eacute;bastien Troendl&eacute; alimente son &eacute;clectisme en collaborant</span><br /><span class=Texte>depuis toujours &agrave; de nombreux projets allant du jazz au reggae en passant par la chanson fran&ccedil;aise et le blues.</span><br /><span class=Texte>Sollicit&eacute; pour ses qualit&eacute;s d&rsquo;improvisateur, de compositeur, d&rsquo;arrangeur et de directeur musical, S&eacute;bastien multiplie les exp&eacute;riences.</span><br /><span class=Texte>Un p&eacute;dagogue exp&eacute;riment&eacute; : la transmission est au coeur des activit&eacute;s de S&eacute;bastien puisqu&rsquo;il a commenc&eacute; &agrave; donner des cours de piano &agrave; l&rsquo;&acirc;ge de 15 ans.</span><br /><span class=Texte>Il a aussi enseign&eacute; &agrave; l&rsquo;École de Musique de Haguenau durant 5 ans et a effectu&eacute; des remplacements dans les classes de piano,</span><br /><span class=Texte>de th&eacute;orie, de rythme et d&rsquo;&eacute;coute au Conservatoire de l&rsquo;Acad&eacute;mie de B&acirc;le.</span><br /><span class=Texte>Passionn&eacute; par son instrument, il l&rsquo;appr&eacute;hende aussi bien en se formant &agrave; la technique pianistique et au positionnement avec Jean Fassina</span><br /><span class=Texte>qu&rsquo;en prenant des cours de piano classique avec Francis Wirth.</span><br /><span class=Texte>Tous ces savoirs font partie int&eacute;grante de son approche p&eacute;dagogique car S&eacute;bastien donne toujours des cours en priv&eacute;.</span><br /><span class=Texte>Sa m&eacute;thode de Boogie-Woogie fait partie de cette envie de transmettre : adapt&eacute;e &agrave; tous les pianistes, cette m&eacute;thode propose des compositions de S&eacute;bastien Troendl&eacute;,</span><br /><span class=Texte>d&eacute;clin&eacute;es en trois niveaux : d&eacute;butant, moyen, avanc&eacute;.</span><br /><span class=Texte>En plus de conseils pr&eacute;cis et d&rsquo;astuces pianistiques vous permettant de travailler le &laquo; vrai &raquo; Boogie-Woogie,</span><br /><span class=Texte>des vid&eacute;os sont mises &agrave; votre disposition en version &laquo; mains s&eacute;par&eacute;es &raquo;, &laquo; vitesse lente &raquo; et &laquo; vitesse normale &raquo;</span><br /><span class=Texte>Pianiste-accompagnateur :</span><br /><span class=Texte>il a exp&eacute;riment&eacute; le rapport Danse/Musique en tant que pianiste-accompagnateur de 2008 &agrave; 2012 au Centre Chor&eacute;graphique de la ville de Strasbourg.</span><br /><span class=Texte>5 ann&eacute;es lors desquelles il a improvis&eacute; pendant les cours de classique, de contemporain, de jazz, les ateliers d&rsquo;&eacute;veil et d&rsquo;initiation et les &laquo; training pro &raquo;.</span><br /><span class=Texte>Biography</span><br /><span class=Texte>After graduating from the Conservatory of the Basel Music Academy, French pianist S&eacute;bastien Troendl&eacute; </span><br /><span class=Texte>became more of an eclectic: </span><br /><span class=Texte>he collaborated on numerous music projects &mdash; from jazz and the blues to reggae and French popular song &mdash; </span><br /><span class=Texte>and put his skills in improvising, composing and arranging to good use as a music director and experienced teacher. </span><br /><span class=Texte>Handing down knowledge has become an essential part of his activities ever since he gave his first piano lessons at the age of fifteen&hellip; </span><br /><span class=Texte>S&eacute;bastien also taught at the Hagenau Music School for five years, and has stood in as a replacement teacher </span><br /><span class=Texte>for classes in piano, music theory, rhythm and listening at his Basel alma mater. </span><br /><span class=Texte>He has a genuine passion for the piano, and has gained his understanding of the instrument both </span><br /><span class=Texte>from studying piano technique and body-positions (with Jean Fassina) and from the classical piano lessons of Francis Wirth. </span><br /><span class=Texte>S&eacute;bastien&rsquo;s skills form an integral part of his approach to teaching and S&eacute;bastien still gives private lessons. </span><br /><span class=Texte>His boogie woogie method is inseparable from his desire to transmit those skills: </span><br /><span class=Texte>adapted to all pianists, his manual proposes compositions of his own that are divided into three levels: </span><br /><span class=Texte>Beginner, Medium, Advanced. In addition to precious advice and pianist&rsquo;s tips that allow students to practise the &ldquo;real&rdquo; boogie woogie, </span><br /><span class=Texte>there are videos available in &ldquo;separate hands&rdquo;, &ldquo;slow&rdquo; and &ldquo;normal speed&rdquo; versions. </span><br /><span class=Texte>As a pianist-accompanist, S&eacute;bastien explored the Dance/Music relationship at the Strasburg Choreographic Centre from 2008 to 2012,</span><br /><span class=Texte>&nbsp;five years in which his improvisations formed part of the classes in classical, jazz, initiation </span><br /><span class=Texte>and early-learning workshops and &laquo;pro training&raquo; sessions.</span><br /><span class=Soustitre2>SES PROJETS PERSONNELS</span><br /><span class=Texte>Mes t&ecirc;tes : son premier album solo, &laquo; mes t&ecirc;tes &raquo; est sorti en 2003 (Label PST). </span><br /><span class=Texte>La soir&eacute;e de lancement est parrain&eacute;e par le bandon&eacute;oniste argentin Juan-Jos&eacute; Mosalini : </span><br /><span class=Texte>le public est unanime et la critique mesure &laquo; toute l&rsquo;&eacute;tendue de sa musicalit&eacute; &raquo;.</span><br /><span class=Texte>Le cin&eacute;-concert : initialement cr&eacute;&eacute; pour r&eacute;pondre &agrave; une commande, S&eacute;bastien propose d&eacute;sormais la mise en musique de Faust de F.W. Murnau en piano solo. </span><br /><span class=Texte>Apr&egrave;s 6 ann&eacute;es au centre chor&eacute;graphique de Strasbourg, o&ugrave; S&eacute;bastien accompagne et improvise sur la danse, </span><br /><span class=Texte>Faust est la continuit&eacute; de cette illustration sonore des mouvements, des ambiances et des &eacute;motions.</span><br /><span class=Texte>Rag&rsquo;n Boogie : Un spectacle qui nous raconte &agrave; la fois l&rsquo;histoire personnelle d&rsquo;un musicien blanc qui aurait r&ecirc;v&eacute; d&rsquo;&ecirc;tre un pianiste noir, </span><br /><span class=Texte>et l&rsquo;histoire universelle de cette fabuleuse &laquo; musique noire &raquo; : depuis l&rsquo;esclavage jusqu&rsquo;aux plus belles pages du ragtime et du Boogie-Woogie.</span><br /><span class=Texte>Dans une d&eacute;marche globale de promotion du Ragtime, du Boogie-Woogie et de pr&eacute;servation de ce patrimoine musical, Rag&rsquo;n Boogie c&rsquo;est &eacute;galement :</span><br /><span class=Texte>- Un spectacle musical,</span><br /><span class=Texte>- Des interventions en milieu scolaire,</span><br /><span class=Texte>- Une m&eacute;thode de Boogie-Woogie aux Éditions Henry Lemoine,</span><br /><span class=Texte>- Des partitions de ragtimes en duo piano/saxophone aux Éditions Robert Martin,</span><br /><span class=Texte>- Des masterclass,</span><br /><span class=Texte>- Un concert en piano solo,</span><br /><span class=Texte>- Un album (Fr&eacute;meaux &amp; Associ&eacute;s &ndash; nov. 2014).</span><br /><span class=Soustitre><br />Actualite 2017</span><br /><span class=Texte>- Nouvelle cr&eacute;ation : &laquo;Billie(s),&raquo; spectacle musical &eacute;crit par Nicolas Turon et mis en sc&egrave;ne par Catherine Javaloy&egrave;s</span><br /><span class=Texte>- Cr&eacute;ation d&rsquo;un BD-concert sur le livre &laquo;Un peu de bois et d&rsquo;acier&raquo; de Christophe Chabout&eacute;</span><br /><span class=Texte>- Sortie de &laquo;Rag &amp; Boogie&raquo;, un livre pour les 6/12 ans, &eacute;crit par S&eacute;bastien Troendl&eacute; et Val&eacute;rie Paumier et illustr&eacute; par Christophe Chabout&eacute;</span><br /><span class=Texte>- Cr&eacute;ation de Rag&rsquo;n Boogie Jeune Public en coproduction avec le Cr&eacute;a, Sc&egrave;ne conventionn&eacute;e Jeune Public d&rsquo;Alsace</span><br /><span class=Texte>After the unanimous welcome given to the refreshing &ldquo;Rag&rsquo;n Boogie&rdquo; album (FA8507), this new &ldquo;Boogies on the Ball&rdquo; marks a great return to the studios by S&eacute;bastien Troendl&eacute;, and it shows: he&rsquo;s a rumbling pianist with thunder at his fingertips, immense feeling, and an unwavering vocation for handing down his love for boogie woogie. S&eacute;bastien even wrote a method for the style (published by Henry Lemoine) and he has played the boogie genre worldwide in shows (Avignon), concerts and master classes that include his noticeable appearance at the 2016 Scott Joplin Festival in Sedala, Missouri, USA. &ldquo;Boogies on the Ball&rdquo; has 14 leaping titles, all of them timeless classics in a universe where this music has never been out of fashion. Augustin BONDOUX</span><br /><span class=Texte>&amp; Patrick FRÉMEAUX</span><br /><span class=Texte>Apr&egrave;s un rafraichissant &laquo;&thinsp;Rag&rsquo;n Boogie&thinsp;&raquo; (FA8507), unanimement salu&eacute;, voici le grand retour sur disque de S&eacute;bastien Troendl&eacute;, vrombissant pianiste qui a la foudre au bout des doigts. S&eacute;bastien Troendl&eacute; poss&egrave;de, en sus d&rsquo;un feeling immense, une irr&eacute;ductible vocation de transmettre son amour pour le Boogie- Woogie, auquel il a d&eacute;di&eacute; une m&eacute;thode (publi&eacute;e aux &eacute;ditions Henry Lemoine) et qui lui a fait &eacute;cumer la plan&egrave;te enti&egrave;re avec spectacles (Avignon), concerts et masterclasses (dont une apparition remarqu&eacute;e au &laquo;&thinsp;Scott Joplin Festival&thinsp;&raquo; 2016 &agrave; Sedala, Missouri). Il offre a &laquo;&thinsp;Boogies on the ball&thinsp;&raquo; 14 compositions bondissantes, qui s&rsquo;inscrivent dans l&rsquo;intemporalit&eacute; et l&rsquo;universalit&eacute; de cette musique ind&eacute;modable. Augustin BONDOUX &amp; Patrick FRÉMEAUX</span><br /></p>"
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      "description" => "<p><p align=justify>V&eacute;ritable moteur des swinguantes petites formations de jazz, le piano boogie va marquer durablement le rhythm and blues avant d&rsquo;emballer &agrave; son tour le rock &lsquo;n&rsquo; roll. Jean Buzelin nous en propose un panorama extraordinairement document&eacute; en 42 titres accompagn&eacute;s d&rsquo;un livret de 32 pages richement illustr&eacute;. <br /><strong>Patrick Fr&eacute;meaux<br /></strong><br /><em>As a&nbsp;veritable driving power behind small swinging jazz bands, piano boogie would make a lasting mark on rhythm and blues before, in turn, being taken up by rock &lsquo;n&rsquo; roll. <br />Jean Buzelin allows us to discover this story with a 42 tracks boxset featuring a 32 pages booklet in both French and English.<br /></em></p><br />ALBERT AMMONS : Rhythm Boogie &bull; PETE JOHNSON : Hollywood Boogie &bull; PETE JOHNSON : Rocket 88 Boogie &bull; MEADE LUX LEWIS &amp; HELEN HUMES : Be Ba Ba Le Ba Boogie &bull; KENNY KERSEY &amp; HENRY ALLEN : K.K. Boogie &bull; BOB MOSLEY &amp; JACK McVEA : Bartender Boogie &bull; SAMMY PRICE : Boogie Woogie Moan &bull; COUNT BASIE : Saint-Louis Boogie &bull; MARY LOU WILLIAMS : Boogie Misterioso &bull; JAY McSHANN Bad Tale Boogie &bull; ALBERT AMMONS &amp; LIONEL HAMPTON : Chicken Shack Boogie &bull; MILT BUCKNER : Fatstuff Boogie &bull; ACE HARRIS : M.F.T. Boogie &bull; JULIA LEE : Snatch And Grab It &bull; LLOYD GLENN : Boogiology &bull; LEONARD CASTON &amp; BIG THREE TRIO : Big 3 Boogie &bull; PIANO RED : Red&rsquo;s Boogie &bull; WILD BILL DAVIS &amp; LOUIS JORDAN : Choo-Choo Ch&rsquo; Boogie &bull; HADDA BROOKS : Nightmare Boogie &bull;DEVONIA WILLIAMS &amp; JOHNNY OTIS : Cupid&rsquo;s Boogie &bull; AMOS MILBURN : Down The Road Apiece &bull; AMOS MILBURN : Amos Blues &bull; CAMILLE HOWARD &amp; ROY MILTON : Camille&rsquo;s Boogie &bull; DEVONIA WILLIAMS : Dee&rsquo;s Boogie &bull; JOE LIGGINS : Dripper&rsquo;s Boogie &bull; BO CYPHERS &amp; JIMMY LIGGINS : Saturday Night Boogie Woogie Man &bull; WILLIE JOHNSON : Sampson St. Boogie &bull; LAVARDA DURST : Hattie Green &bull; MEMPHIS SLIM : Slim&rsquo;s Boogie &bull; EDDIE BOYD : Eddie&rsquo;s Blues &bull; LITTLE JOHNNY JONES &amp; J.T. BROWN : Round House Boogie &bull; ROOSEVELT SYKES : Walkin&rsquo; This Boogie &bull; PHINEAS NEWBORN &amp; LOU SARGENT : Ridin&rsquo; The Boogie &bull; IKE TURNER &amp; BOBBY BLAND : Good Lovin&rsquo; &bull; ARCHIBALD : Crescent City Bounce &bull; PROFESSOR LONGHAIR : Professor&rsquo;s Longhair Boogie &bull; FATS DOMINO : Hey ! Fat Man ! - Fat&rsquo;s Frenzy &bull; LITTLE RICHARD : Tutti Frutti &bull; CECIL GANT : Rock Little Baby &bull; JIMMY McCRACKLIN : Blues Blasters Boogie &bull; HARRY VAN WALLS &amp; BIG JOE TURNER : Boogie Woogie Country Girl.<br />Production : Fr&eacute;meaux &amp; Associ&eacute;s. (Jazz Blues &amp; Boogie)</p><br><br>"
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      "dwf_livret" => "<h3>BOOGIE WOOGIE PIANO Vol 3</h3><span class=Texte><p align=justify><p><span class=Soustitre>BOOGIE WOOGIE PIANO<br />VOL. 3 &ldquo;FROM JAZZ TO RHYTHM &amp; BLUES AND ROCK &lsquo;N&rsquo; ROLL&rdquo; 1941-1955</span></p><br /><p><span class=Soustitre><span class=Soustitre>BOOGIE WOOGIE PIANO - VOL. 3 &ldquo;FROM JAZZ TO RHYTHM &amp; BLUES AND ROCK &lsquo;N&rsquo; ROLL&rdquo; 1941-1955</span><br /></span><span class=Texte>1945 : la guerre mondiale est termin&eacute;e, du moins la guerre hot qu&rsquo;une autre guerre cool va bient&ocirc;t remplacer. La grande actualit&eacute; peut toujours se lire en parall&egrave;le avec des &eacute;l&eacute;ments secondaires en particulier. Risquons donc l&rsquo;analogie entre le jazz hot et le jazz cool, et passons aux choses &ldquo;s&eacute;rieuses&rdquo;. Durant la boogie woogie craze, cette &ldquo;folie&rdquo; du boogie qui traversa le pays durant cette p&eacute;riode tragique et que nous avons trait&eacute;e dans notre pr&eacute;c&eacute;dent volume (1), nous n&rsquo;avons gu&egrave;re quitt&eacute; les rivages des musiques hot, notre objet &eacute;tant, et restant toujours, la place du piano boogie dans l&rsquo;&eacute;volution de la musique populaire afro-am&eacute;ricaine. Ce qui veut dire que nous avons laiss&eacute; de c&ocirc;t&eacute; son aspect &ldquo;d&eacute;coratif&rdquo;, le r&ocirc;le attractif qu&rsquo;il remplissait dans les grands orchestres swing. Un morceau de boogie-woogie dans le r&eacute;pertoire d&rsquo;un big band est souvent un &ldquo;num&eacute;ro&rdquo; parmi d&rsquo;autres. Si le num&eacute;ro est us&eacute; ou pass&eacute; de mode, on le retire du programme. On le retire d&rsquo;autant plus facilement qu&rsquo;il participe du d&eacute;mant&egrave;lement des grands orchestres, li&eacute; &agrave; la situation &eacute;conomique difficile. Le piano se retrouve donc seul, parfois avec une contrebasse et une batterie, et reprend sa fonction &ldquo;d&rsquo;orchestre &agrave; lui tout seul&rdquo;. Nous avons pr&eacute;c&eacute;demment suivi les divers chemins qu&rsquo;emprunta, dans cette p&eacute;riode troubl&eacute;e, le boogie-woogie dans sa configuration traditionnelle et avec l&rsquo;instrument de sa cr&eacute;ation depuis la fin du XIXe si&egrave;cle : le piano. Or, le d&eacute;clin brutal du boogie-woogie, li&eacute; aux bouleversements de l&rsquo;apr&egrave;s-guerre, du moins dans sa forme pianistique &ldquo;pure&rdquo;, va obliger les sp&eacute;cialistes de cet art solitaire, soit &agrave; se reconvertir ou &agrave; &eacute;largir leur r&eacute;pertoire &agrave; d&rsquo;autres formes musicales, soit &agrave; &eacute;toffer leur formation avec des instruments qui pourraient &eacute;galement &ecirc;tre mis en valeur (saxophone, guitare &eacute;lectrique&hellip;) donc, permettraient de renouveler le genre. On s&rsquo;&eacute;tait aper&ccedil;u &eacute;galement, avec la &ldquo;r&eacute;v&eacute;lation&rdquo; Big Joe Turner fin 1938 (1) que le piano boogie pouvait &ecirc;tre un excellent support, dynamique, swinguant et chauffant, pour les chanteurs &agrave; voix. Et un bon chanteur ou une bonne (et belle) chanteuse repr&eacute;sente toujours un atout spectaculaire, populaire et commercial pour un orchestre. On s&rsquo;&eacute;tait aussi rendu compte depuis pas mal de temps &ndash; cela vient tr&egrave;s largement de Kansas City &ndash; que le piano boogie &ldquo;nourrissait&rdquo; les orchestres en leur apportant une pulsation, un rythme et une assise propices au swing et aux envol&eacute;es les plus chaudes, en m&ecirc;me temps qu&rsquo;il restait le garant de la tradition, des racines noires qu&rsquo;il maintenait fortes et vivantes. Tout simplement parce qu&rsquo;il amenait le blues dans son jeu. C&rsquo;est ce qu&rsquo;avait parfaitement compris Lionel Hampton qui, carr&eacute;ment &agrave; contre-courant, montait un big band au moment m&ecirc;me du d&eacute;clin des grosses machines ! En ne consid&eacute;rant pas le blues &ndash; le boogie-woogie &ndash; comme accessoire, il prouva qu&rsquo;il avait raison. Non seulement il r&eacute;ussit &agrave; d&eacute;velopper et &agrave; maintenir son grand orchestre durant de longues ann&eacute;es, mais il servit d&rsquo;exemple &agrave; quantit&eacute;s d&rsquo;ensembles aux personnels plus modestes mais avides d&rsquo;obtenir le m&ecirc;me r&eacute;sultat. En quelques ann&eacute;es, le monde musical fut boulevers&eacute; de fond en comble. S&rsquo;il n&rsquo;eut gu&egrave;re d&rsquo;influence sur les nouvelles tendances du jazz, du moins dans ses premi&egrave;res ann&eacute;es, le boogie-woogie impr&eacute;gna tr&egrave;s profond&eacute;ment toutes les formes de musique populaire am&eacute;ricaines, noires comme blanches. Ainsi les musiques dites country &amp; western vont, apr&egrave;s les ensembles de western swing, int&eacute;grer tr&egrave;s largement le piano boogie dans leurs orchestres. Ce qui va conduire au country boogie (2). Cette orientation d&eacute;borde du cadre de notre &eacute;tude, mais il ne faut pas oublier de noter que, par l&rsquo;interm&eacute;diaire du rockabilly d&rsquo;une part et du rhythm and blues de l&rsquo;autre, les deux mouvements, blancs et noirs, vont se retrouver &agrave; la naissance du rock &lsquo;n&rsquo; roll ; illustration : Jerry Lee Lewis d&rsquo;un c&ocirc;t&eacute;, Little Richard de l&rsquo;autre, le premier proc&eacute;dant largement du second. Le boogie-woogie, v&eacute;hicul&eacute; par le piano au sein de l&rsquo;orchestre, devient l&rsquo;un des &eacute;l&eacute;ments majeurs qui vont donner une orientation d&eacute;cisive &agrave; cette multitude de petits groupes qui, prolongeant le blues et le jazz populaire, celui qui accompagne les danseurs, constitueront l&rsquo;une des tendances les plus fortes au sein de l&rsquo;auberge espagnole qui porte pour enseigne Rhythm &amp; Blues (R&amp;B).</span></p><br /><p><span class=Texte>Le regard fix&eacute; sur le piano, nous avions, avec notre pr&eacute;c&eacute;dent coffret, d&eacute;j&agrave; travers&eacute; cette p&eacute;riode turbulente qui part de la renaissance du boogie-woogie, son passage dans le monde du jazz et sa sortie vers le rhythm and blues. Mais nous avions privil&eacute;gi&eacute; l&rsquo;instrument en le d&eacute;tachant du mouvement orchestral, cherchant &agrave; le saisir lorsqu&rsquo;il ex&eacute;cute son solo. Nous reprenons ici la m&ecirc;me &ldquo;histoire&rdquo;, avec ses &eacute;volutions successives, en &eacute;teignant le projecteur fix&eacute; sur le pianiste pour &eacute;clairer plus largement tout l&rsquo;orchestre. Ce qui n&rsquo;emp&ecirc;chera pas le piano de s&rsquo;extraire de la masse sonore. Le boogie-woogie est, en effet, une forme musicale solide et r&eacute;sistante qui, sous les doigts d&rsquo;un bon pianiste, ne se laisse pas facilement submerger par la puissance des instruments aid&eacute;s par les micros et les d&eacute;cibels ! Pour certains, cela se fait &ldquo;en douceur&rdquo;. En particulier chez les pianistes de boogie qui s&rsquo;entendent bien avec les jazzmen proprement dit, Albert Ammons et Pete Johnson en particulier. Les autres, les &ldquo;vrais&rdquo;, les &ldquo;authentiques&rdquo;, les &ldquo;caract&egrave;res&rdquo;, ceux qui ont pass&eacute; leur existence dans les salles bruyantes o&ugrave; ils devaient faire l&rsquo;orchestre &agrave; eux tout seuls, ceux-l&agrave; sont trop individualistes pour trouver leurs marques au milieu de musiciens plus g&ecirc;nants qu&rsquo;autre chose. On imagine mal Jimmy Yancey ou Cripple Clarence Lofton se couler dans le moule d&rsquo;un orchestre ! Et puis il y a ceux qui, par choix ou parce que leur statut de &ldquo;vedette&rdquo; leur permet, pr&eacute;f&egrave;rent, comme Meade Lux Lewis ou Hadda Brooks, rester en pleine lumi&egrave;re avec un ou deux accompagnateurs &agrave; leur entier service.</span></p><br /><p><span class=Texte><strong>LE PIANO BOOGIE DANS LE JAZZ</strong><br /><strong><em>Albert Ammons</em></strong> (1907-1949) nous donne un superbe exemple de fusion r&eacute;ussie entre le boogie-woogie et le jazz, puisqu&rsquo;il choisit ici de s&rsquo;exprimer sur un th&egrave;me de 32 mesures alors que, tr&egrave;s largement, ce sont les 12 mesures du blues qui constituent la base du piano boogie. S&rsquo;il conduit le morceau avec sa ma&icirc;trise et sa rigueur habituelles, Ammons offre n&eacute;anmoins un espace &agrave; son guitariste Ike Perkins pour qu&rsquo;il s&rsquo;exprime en solo. Arch&eacute;type du piano boogie s&rsquo;il en est, Albert Ammons ne manque pas d&rsquo;exp&eacute;rience orchestrale puisque, lors de sa d&eacute;couverte &agrave; Chicago en 1936, il dirigeait d&eacute;j&agrave; des &ldquo;Rhythm Kings&rdquo;, avec lesquels il grava son premier disque. Invit&eacute; par Lionel Hampton dans un orchestre &ldquo;all&eacute;g&eacute;&rdquo; par rapport &agrave; la pachydermique formation habituelle, Ammons, avec son jeu toujours puissant et &eacute;quilibr&eacute;, apporte une pr&eacute;sence hi&eacute;ratique tr&egrave;s diff&eacute;rente de celle de Milt Buckner, l&rsquo;alter ego &ldquo;boogie&rdquo; du vibraphoniste, sur une reprise de Chicken Shack Boogie, un succ&egrave;s d&rsquo;Amos Milburn.<br />Son ancien partenaire <strong><em>Pete Johnson</em></strong> (1904-1967) se frotte aussi aux assemblages orchestraux. Lui aussi fr&eacute;quente les jazzmen et fait appr&eacute;cier ses capacit&eacute;s sur des structures musicales autres que le classique boogie-woogie. Il se produit &eacute;galement en quartette avec un guitariste, ici Carl Lynch qui apporte sur Hollywood Boogie d&rsquo;int&eacute;ressantes ponctuations lors du d&eacute;roulement de la partie de piano typiquement johnsonnienne. Attir&eacute; par les lumi&egrave;res de la c&ocirc;te Ouest, il rejoint en Californie son vieux complice Big Joe Turner qu&rsquo;il va &agrave; nouveau accompagner, cette fois non pas en duo mais avec un petit combo tr&egrave;s rhythm and blues, celui que nous entendons ici. Son Rocket 88 Boogie en deux parties (3) est un v&eacute;ritable petit concerto de piano soutenu par des riffs de saxes. Il laisse un solo au guitariste Herman Mitchell avant de reprendre l&rsquo;offensive en fin de face A. La reprise est diff&eacute;rente, plus souple, et apr&egrave;s de nouvelles s&eacute;quences &ldquo;riff&eacute;es&rdquo;, c&rsquo;est le saxo-t&eacute;nor Maxwell Davis qui s&rsquo;attribue le devant de la sc&egrave;ne.<br />Le troisi&egrave;me larron du fameux &ldquo;Boogie Woogie Trio&rdquo; des grandes heures du Caf&eacute; Society de New York (4), <strong><em>Meade Lux Lewis</em></strong> (1905-1964) ne se lance que timidement dans l&rsquo;aventure orchestrale, pr&eacute;f&eacute;rant l&rsquo;exhibition en solo dans les bars et les clubs chics. S&rsquo;il a accompagn&eacute; un jour ou l&rsquo;autre Big Joe Turner comme ses deux coll&egrave;gues, il a largement ignor&eacute; le domaine du rhythm and blues. Dommage, car derri&egrave;re la chanteuse Helen Humes, son jeu puissant fait merveille et chacun peut s&rsquo;appuyer avec confiance sur son soutien.<br />Instrument vedette en ces d&eacute;buts du R&amp;B &ndash; le terme n&rsquo;appara&icirc;tra &ldquo;officiellement&rdquo; qu&rsquo;en 1949 &ndash; les saxophones-t&eacute;nors ont souvent la grosse cote aupr&egrave;s des amateurs. &Agrave; la suite d&rsquo;Illinois Jacquet et d&rsquo;Arnett Cobb, ils assurent en effet le pont entre jazz et rhtyhm and blues. Nombreux sont ceux qui, comme Jack McVea, dirigent leur propre orchestre au sein duquel se distinguent diff&eacute;rents solistes. Bartender Boogie, le grand succ&egrave;s de McVea &agrave; cette &eacute;poque, est un solide boogie qui met essentiellement en valeur le pianiste m&eacute;connu <strong><em>Bob Mosley</em></strong> (ou Mosely), vrai sp&eacute;cialiste de la question qui enregistre &agrave; la m&ecirc;me &eacute;poque une s&eacute;rie de boogie-woogies en solo. Au milieu des ann&eacute;es 50, on l&rsquo;entendra au piano et &agrave; l&rsquo;orgue avec le big band de Lionel Hampton.<br />Si l&rsquo;on cherche d&rsquo;un peu plus pr&egrave;s dans le jazz, on constate que les performances de piano boogie n&rsquo;&eacute;taient pas r&eacute;serv&eacute;es aux seuls grands orchestres. Ainsi <strong><em>Kenny Kersey</em></strong> (1916-1983), excellent pianiste de jazz et formidable boogieman, laissa des prestations enthousiasmantes tant au sein des &laquo; Clouds of Joy &raquo; d&rsquo;Andy Kirk (Boogie Woogie Cocktail) o&ugrave; il rempla&ccedil;a Mary Lou Williams, que dans des formations plus r&eacute;duites comme celle de Red Allen. Si chaque soliste y va de ses deux chorus, l&rsquo;omnipr&eacute;sence de Kersey sur ce tempo ultra rapide t&eacute;moigne d&rsquo;une ma&icirc;trise incomparable &agrave; laquelle s&rsquo;ajoute, mais cela va de soi, une parfaite musicalit&eacute; et un go&ucirc;t tr&egrave;s s&ucirc;r. Remarquons que le batteur de ce K.K. Boogie, Jimmy Hoskins, est celui qui accompagne &agrave; la m&ecirc;me &eacute;poque Ammons et Johnson sur leurs fabuleux duos pour RCA-Victor (4).<br />Pete Johnson comme Andy Kirk viennent de Kansas City o&ugrave;, d&eacute;cid&eacute;ment, l&rsquo;air (politiquement vici&eacute; mais tr&egrave;s b&eacute;n&eacute;fique aux jazzmen) fait toujours son effet. <strong><em>Count Basie </em></strong>(1904-1984) qui, en ces ann&eacute;es, a parfois du mal &agrave; maintenir son grand orchestre, s&rsquo;entoure en revanche de musiciens plus jeunes comme ici Paul Gonsalves qui effectue une intervention &ldquo;&agrave; l&rsquo;arrach&eacute;&rdquo; sur ce Saint-Louis Boogie que, comme &agrave; son habitude, le Comte m&egrave;ne avec sobri&eacute;t&eacute; et parcimonie. Il ne s&rsquo;attarde jamais longtemps sur les rolling basses immuables pour mieux favoriser l&rsquo;alternance piano/parties orchestrales.<br /><strong><em>Mary Lou Williams</em></strong> (1910-1981), qui a quitt&eacute; l&rsquo;orchestre d&rsquo;Andy Kirk apr&egrave;s treize ann&eacute;es durant lesquelles elle a laiss&eacute; une forte empreinte, est une brillante pianiste dont le jeu, en constante &eacute;volution, s&rsquo;appuie d&rsquo;un c&ocirc;t&eacute; sur le style stride, de l&rsquo;autre sur le boogie (Roll &lsquo;Em). Elle met sur pieds, en 1946, un orchestre enti&egrave;rement f&eacute;minin. La fa&ccedil;on dont fonctionne le trio piano-vibraphone-guitare dans ce Boogie Misterioso bien nomm&eacute;, est un petit r&eacute;gal de swing d&eacute;licat avec breaks, stop-chorus et dialogues inscrits dans une progression harmonique surprenante et originale qui donne un c&ocirc;t&eacute; a&eacute;rien, presque irr&eacute;el, &agrave; ce petit bijou que la pianiste ponctue, elle aussi, de basses boogie irr&eacute;guli&egrave;res.<br />Autre membre de la d&eacute;l&eacute;gation de Kansas City, <strong><em>Jay McShann</em></strong> (1909 ou 16-2006) a &eacute;galement dissous son grand orchestre avant de rejoindre &agrave; son tour les rives de la West Coast en 1945 et d&rsquo;y r&eacute;unir une petite formation mi-jazz mi-R&amp;B qui accompagne de nombreux chanteurs, en particulier Jimmy Witherspoon, et produit une musique sans pr&eacute;tentions mais de qualit&eacute;. Lui non plus ne s&rsquo;enferme pas dans un boogie trop rigide, mais il aime y revenir ponctuellement avec son jeu souple et son style &ldquo;peu appuy&eacute;&rdquo; original qu&rsquo;il prom&egrave;ne d&eacute;licieusement sur un fond de riffs tout simple.<br />Parmi les vocalistes qu&rsquo;accompagna Jay McShann figure, en 1944, <strong><em>Julia Lee</em></strong> (1902-1958) qui, autrefois, avait &eacute;t&eacute; pianiste dans l&rsquo;orchestre de son fr&egrave;re George E. Lee &agrave; Kansas City. Apr&egrave;s cet interm&egrave;de, elle se r&eacute;installe au clavier et entame une nouvelle carri&egrave;re de pianiste-chanteuse, obtenant quelques jolis succ&egrave;s dans les charts R&amp;B jusqu&rsquo;en 1952, tout en gardant un style tr&egrave;s jazz tant rythmiquement que dans la couleur d&rsquo;ensemble et le caract&egrave;re des solos. C&rsquo;est pourquoi chez elle aussi, l&rsquo;accompagnement de piano derri&egrave;re son chant comme durant les interventions instrumentales n&rsquo;utilise que parcimonieusement les basses boogie.<br />Pour <strong><em>Sammy Price</em></strong> (1908-1992), Kansas City n&rsquo;avait &eacute;t&eacute; qu&rsquo;une &eacute;tape entre son Texas natal et Chicago, Detroit puis New York o&ugrave;, tout en accompagnant sur disque nombre de chanteurs et chanteuses, il monte un petit orchestre de jazz qui s&rsquo;av&egrave;re un des premiers &agrave; faire une large place au boogie-woogie (et au blues). Son sens du tempo m&eacute;dium &ldquo;id&eacute;al&rdquo; et de l&rsquo;architecture musicale font de ses petites pi&egrave;ces des merveilles d&rsquo;&eacute;quilibre. Il faut entendre comment le piano orchestre lui-m&ecirc;me le th&egrave;me jou&eacute; par les instruments &agrave; vent, et comment sa courte intervention soliste est solidement charpent&eacute;e.<br />Aussi rigoureux mais plus exub&eacute;rant, <strong><em>Milton Buckner</em></strong>, originaire de St-Louis (1915-1977), entra en 1941 chez Lionel Hampton en tant que pianiste et principal arrangeur. Il est &agrave; ce titre, avec le chef, le co-responsable des boogie-woogies au paroxysme somptueux (Hamp&rsquo;s Boogie Woogie) qui ont fait la gloire de l&rsquo;orchestre. Il monte ensuite un petit ensemble (avant de s&rsquo;essayer &agrave; son tour &agrave; la direction d&rsquo;un big band) pour lequel il transpose ses conceptions orchestrales gr&acirc;ce &agrave; un jeu de piano complet et harmoniquement riche avec sa technique des block chords. Il interpr&egrave;te ici un Fatstuff Boogie &agrave; la Hampton, comprenant breaks et solo de t&eacute;nor, avec un swing qui conduit &agrave; un crescendo final. Les conceptions orchestrales du jeu de Milt Buckner s&rsquo;affirmeront encore lorsqu&rsquo;il adoptera, en plus du piano, l&rsquo;orgue Hammond.<br />Autre pianiste-arrangeur (et parfois chanteur), <strong><em>Ace Harris</em></strong> (1910-1964) b&eacute;n&eacute;ficie d&rsquo;une moindre r&eacute;putation, en partie parce qu&rsquo;il a quitt&eacute; la sc&egrave;ne tr&egrave;s t&ocirc;t. Il remplace en 1944 Avery Parrish, l&rsquo;auteur du c&eacute;l&egrave;bre After Hours, dans le big band d&rsquo;Erskine Hawkins avec qui il co-signe un fameux Hawk&rsquo;s Boogie qui t&eacute;moigne de ses r&eacute;elles capacit&eacute;s dans ce genre musical. Dans son MFT Boogie, il joue d&rsquo;abord un boogie jazzy avec des ponctuations avant le solo de t&eacute;nor d&rsquo;Eddie Davis, puis d&eacute;livre de remarquables variations dans les aigus qu&rsquo;il soutient d&rsquo;une puissante ligne de basse, tout cela sur un fond rythmique demeurant tr&egrave;s swing.</span></p><br /><p><span class=Texte>Musique alors &agrave; la mode, il &eacute;tait in&eacute;luctable que le boogie-woogie infiltre tous les genres musicaux et tous les types d&rsquo;orchestres durant les ann&eacute;es 40 : on le jouait et on le chantait sur tous les tons, de Big Joe Turner aux Andrews Sisters &agrave; l&rsquo;autre bout du spectre, jusqu&rsquo;&agrave;&hellip; Yves Montand (!) car le boogie s&rsquo;&eacute;tait export&eacute; en m&ecirc;me temps que les G.I.s et les cigarettes blondes ! Sa pr&eacute;sence dans le r&eacute;pertoire d&rsquo;un groupe vocal/instrumental de jive music, en particulier si celui-ci s&rsquo;appuie largement sur le blues dans ses parties chant&eacute;es en harmonie, rel&egrave;ve beaucoup moins de la mode et de l&rsquo;anecdote. C&rsquo;est en 1939 que le contrebassiste (et futur prolifique auteur de blues)Willie Dixon rencontre <em><strong>Leonard Caston Jr</strong></em> (1917-1987) qui se partage entre le piano, la guitare et le travail de studio. Au sein du &laquo; Big Three Trio &raquo; co-fond&eacute; en 1946, &ldquo;Baby Doo&rdquo; Caston n&rsquo;utilise que le piano, la guitare &eacute;tant confi&eacute;e un an plus tard &agrave; Ollie Crawford. Son jeu simple mais brillant, aux aigus cristallins, s&rsquo;intercale parfaitement entre les interventions de ses camarades, les parties communes &eacute;tant chant&eacute;es &agrave; l&rsquo;unisson.<br />Si le Big Three Trio repr&eacute;sente un genre qui a son avenir derri&egrave;re lui (!), le flambeau de la jive music, &eacute;galement brandi par Slim Gaillard, avec ses mots &agrave; double sens et ses expressions argotiques et cod&eacute;es qui font le bonheur des communaut&eacute;s noires urbaines, avait &eacute;t&eacute; brillamment repris au vol et exploit&eacute; &agrave; merveille par Louis Jordan lorsqu&rsquo;il cr&eacute;a ses &laquo; Tympany Five &raquo;. Durant une d&eacute;cennie, le chanteur-saxophoniste va tr&ocirc;ner au sommet de la popularit&eacute;, toutes couleurs confondues. &Agrave; c&ocirc;t&eacute; du big band de Lionel Hampton, c&rsquo;est le petit orchestre de Jordan qui va servir de mod&egrave;le principal &agrave; tous les petits combos qui, &agrave; partir de 1945, vont se multiplier comme les pains de l&rsquo;Évangile ! Le &ldquo;papa du rhythm and blues&rdquo; passait alors avec le plus grand bonheur tous les genres &agrave; la moulinette et il en ressortait des petites merveilles de swing et de dr&ocirc;lerie. Le boogie-woogie n&rsquo;&eacute;chappa pas &agrave; son grappin et, comme pour le reste, il n&rsquo;en respecta gu&egrave;re les codes. Aussi c&rsquo;est une chance d&rsquo;entendre, dans son ultra c&eacute;l&egrave;bre Choo-Choo Ch&rsquo; Boogie, un peu de piano boogie fortement teint&eacute; de shuffle jou&eacute; par <strong><em>Wild Bill Davis</em></strong> (1918-1995), lequel ne s&rsquo;illustra pas pr&eacute;cis&eacute;ment dans le genre et abandonna m&ecirc;me tr&egrave;s vite le piano pour devenir le grand organiste que l&rsquo;on conna&icirc;t.<br />Plus marginale appara&icirc;t la personnalit&eacute; de Willie Lee Perryman dit <strong><em>Piano Red</em></strong> (1911-1985), fr&egrave;re cadet de Speckled Red (4), et qui s&rsquo;est balad&eacute; d&rsquo;Atlanta &agrave; Nashville en passant par New York, en pratiquant un genre d&eacute;suet (avec succ&egrave;s !) m&ecirc;lant un jeu bastringue issu des tripots du Sud &agrave; un rythme sautillant proche des musiques country. Son Red&rsquo;s Boogie, qui a la particularit&eacute; d&rsquo;&ecirc;tre b&acirc;ti sur 8 mesures, repr&eacute;sente bien ce genre barrelhouse peu structur&eacute; ou plusieurs formules &ldquo;th&eacute;matiques&rdquo; r&eacute;p&eacute;titives alternent sur un accompagnement &ldquo;en descente&rdquo;. Une r&eacute;jouissante curiosit&eacute; par un artiste brut.</span></p><br /><p><span class=Texte><strong>LE PIANO BOOGIE DANS LE RHYTHM AND BLUES</strong><br />La fin des ann&eacute;es 40 voit les projecteurs qui &eacute;clairent la musique noire s&rsquo;orienter nettement d&rsquo;est en ouest. Un mouvement important se dessine sur la c&ocirc;te californienne qui a vu arriver, durant les ann&eacute;es de guerre, une tr&egrave;s forte population de couleur en provenance du Texas et autres États voisins. Ces gens fra&icirc;chement &eacute;migr&eacute;s manifestent une demande de distractions musicales &agrave; laquelle r&eacute;pondent notamment des chanteurs et pianistes comme Nat King Cole, Charles Brown, Cecil Gant, Hadda Brooks&hellip;(1) S&rsquo;ajoutent bien vite &agrave; ces trios de base, de petits orchestres b&acirc;tis sur le mod&egrave;le des Tympany Five de Louis Jordan avec un c&ocirc;t&eacute; bluesy plus accentu&eacute;. Le batteur Roy Milton et le pianiste Joe Liggins sont non seulement les premiers &agrave; &eacute;merger, mais ils d&eacute;crochent imm&eacute;diatement les premi&egrave;res places des hit-parades qui rendent compte de la vente des disques aupr&egrave;s de la client&egrave;le noire. L&rsquo;&eacute;lan est donn&eacute; et, &agrave; leur suite, quantit&eacute;s de chanteurs et de musiciens montent de semblables groupes dans l&rsquo;espoir de d&eacute;crocher, eux aussi, la timbale !<br />Certains, qui ont fait du boogie-woogie leur sp&eacute;cialit&eacute; comme <strong><em>Hadda Brooks</em></strong> (1916-2002), poursuivent dans la m&ecirc;me voie, poussant par-ci le couplet, ajoutant par-l&agrave; un saxophone, sans trop se m&ecirc;ler &agrave; la concurrence. Pianiste accomplie, excellente jazz et blueswoman, elle a trouv&eacute; son public dans les bars chics de Los Angeles. Nightmare Boogie, une d&eacute;marcation de l&rsquo;arch&eacute;typal Pinetop&rsquo;s Boogie Woogie avec un petit c&ocirc;t&eacute; Basie, se rapproche un peu du genre R&amp;B gr&acirc;ce &agrave; l&rsquo;ajout d&rsquo;un t&eacute;nor et &agrave; un jeu de batterie plus appuy&eacute;.<br />Pianiste de jazz fortement marqu&eacute; par le blues, le Texan <strong><em>Lloyd Glenn</em></strong> (1909-1985) joue un Boogiology sur un accompagnement du genre &ldquo;shuffle ferroviaire&rdquo; bien typique de son style &agrave; l&rsquo;&eacute;poque. Cette &ldquo;promenade&rdquo; donne l&rsquo;occasion de beaux &eacute;changes entre le piano et la guitare de Gene Phillips.<br />Ces petits combos, apr&egrave;s avoir anim&eacute; les soir&eacute;es musicales de la r&eacute;gion, commencent, gr&acirc;ce au succ&egrave;s de leurs disques, &agrave; tourner dans un p&eacute;rim&egrave;tre plus large avant de s&rsquo;exporter &agrave; travers le pays tout entier. Ils influencent, par l&agrave; m&ecirc;me, tout un courant du R&amp;B. Or, la majorit&eacute; d&rsquo;entre eux b&acirc;tissent leur musique sur une base solide de boogie-woogie, dont les rythmes sont id&eacute;aux pour la danse, ce que r&eacute;clame la jeune g&eacute;n&eacute;ration. Lorsqu&rsquo;ils ne sont pas pianistes eux-m&ecirc;mes, les chefs d&rsquo;orchestres s&rsquo;empressent d&rsquo;engager un ou une sp&eacute;cialiste du genre, capable &agrave; la fois de se couler dans le fonctionnement du groupe tout en assurant une assise impeccable : pr&eacute;sence et discr&eacute;tion !<br />L&rsquo;une d&rsquo;entre elles s&rsquo;appelle <strong><em>Devonia &ldquo;Lady Dee&rdquo; Williams</em></strong>, la pianiste de l&rsquo;orchestre de Johnny Otis &agrave; qui elle reste fid&egrave;le de 1947 &agrave; 1956. Son jeu tr&egrave;s rythmique et d&rsquo;une r&eacute;gularit&eacute; m&eacute;tronomique &ldquo;pousse&rdquo; r&eacute;ellement les solistes et les chanteurs &ndash; Little Esther Phillips et Mel Walker dans Cupid&rsquo;s Boogie &ndash; en m&ecirc;me temps qu&rsquo;elle enrichit la couleur orchestrale avec son jeu dans les aigus. Devonia Williams, v&eacute;ritable pianiste d&rsquo;orchestre, a laiss&eacute; tr&egrave;s peu de solos, y compris dans les quelques faces qu&rsquo;elle a r&eacute;alis&eacute;es sous son nom. Mais elle reste omnipr&eacute;sente, comme dans Dee&rsquo;s Boogie o&ugrave; son jeu tr&egrave;s mobile, &agrave; la fois fin et rythmiquement rigoureux, porte litt&eacute;ralement toute l&rsquo;interpr&eacute;tation.<br />La pianiste des &laquo; Solid Senders &raquo; du chanteur-batteur Roy Milton, <strong><em>Camille Howard</em></strong> (1914-1993) a, au contraire, laiss&eacute; un grand nombre de solos, tant sur ses propres disques (1) que sur ceux de son leader qui l&rsquo;a tr&egrave;s volontiers mise en valeur. Elle n&rsquo;&eacute;tait d&rsquo;ailleurs pas pour rien dans le succ&egrave;s de l&rsquo;orchestre o&ugrave; elle demeura &eacute;galement une dizaine d&rsquo;ann&eacute;es (1945-55). V&eacute;ritable c&oelig;ur de l&rsquo;ensemble, elle jouait un solide rocking boogie et fournissait un accompagnement extr&ecirc;mement riche.<br />&nbsp;<br />De r&eacute;putation beaucoup plus modeste, <strong><em>Clarence &ldquo;Bo&rdquo; Cyphers</em></strong>, qui grava quelques faces en 1950 sous le nom de Bubber Cyphers, illustre lui aussi, m&ecirc;me en arri&egrave;re-plan, cette pr&eacute;sence forte du piano boogie dans l&rsquo;orchestre du chanteur-guitariste Jimmy Liggins qu&rsquo;il rejoignit &agrave; la fin des ann&eacute;es 40. Saturday Night Boogie Woogie Man est une interpr&eacute;tation dans le style du Chicken Shack Boogie d&rsquo;Amos Milburn.<br />Pr&eacute;cis&eacute;ment, <strong><em>Amos Milburn</em></strong> (1926-1980) est l&rsquo;un des nombreux chanteurs-pianistes qui dirigent sur la c&ocirc;te Ouest leur propre formation. Avant de devenir l&rsquo;une des premi&egrave;res stars du R&amp;B, Milburn s&rsquo;est fait remarquer par de renversantes pi&egrave;ces de boogie-woogie qui le placent, dans l&rsquo;Histoire, au niveau des plus grands. Sur Amos Blues, une version chant&eacute;e de son Amos Boogie (1), il d&eacute;veloppe un jeu d&rsquo;un swing intense qui s&rsquo;appuie sur les basses roulantes du piano avec le soutien l&eacute;ger de la section rythmique. Impressionnant en solo, son piano nourrit les chorus de saxophone qui lui succ&egrave;dent. Down The Road Apiece, avec son vocal mi-parl&eacute; mi-chant&eacute;, comprend trois chorus de piano absolument &ldquo;parfaits&rdquo; qui soutiennent la comparaison avec les passages &ldquo;d&eacute;finitifs&rdquo; de Pete Johnson. Il n&rsquo;y a pas une note &agrave; enlever ni &agrave; ajouter.<br />Moins dou&eacute; sans doute mais tr&egrave;s comp&eacute;tent, le pianiste et chanteur <strong><em>Joe Liggins</em></strong> (1915-1987), le fr&egrave;re a&icirc;n&eacute; de Jimmy, obtint un immense succ&egrave;s en 1945 avec The Honeydripper, le &ldquo;tube&rdquo; de l&rsquo;ann&eacute;e pour la communaut&eacute; noire et m&ecirc;me au-del&agrave;. Sans &ecirc;tre un sp&eacute;cialiste du boogie, il g&egrave;re parfaitement son affaire dans Dripper&rsquo;s Boogie, orchestrant les diverses interventions avec une r&eacute;elle science de l&rsquo;harmonie.<br />Bon nombre de pianistes qui ont fait carri&egrave;re en Californie venaient du Texas. Et il est int&eacute;ressant de retourner aux sources pour rencontrer quelques artisans d&rsquo;une &eacute;cole pianistique qui avait fait parler d&rsquo;elle d&egrave;s les ann&eacute;es 20. Chez <strong><em>Willie Johnson</em></strong>, qui a abondamment enregistr&eacute; &agrave; Houston entre 1949 et 1954, la technique est plus rudimentaire. Mais Sampson Street Boogie donne un &eacute;clairage sur ce style archa&iuml;que encore pratiqu&eacute;&hellip; et enregistr&eacute; sur un piano droit (comme dans les juke joints) ! Autre musicien rustique, <strong><em>Lavada </em></strong>(ou Lavarda) <strong><em>Durst</em></strong> (1910-1996), dit aussi &laquo; Dr. Hepcat &raquo; et disc-jockey d&rsquo;Austin, interpr&egrave;te sans pr&eacute;tentions mais avec un fort accent, Hattie Green, un classique du blues texan &agrave; 8 mesures.</span></p><br /><p><span class=Texte>La pr&eacute;sence naturelle du boogie-woogie chez les pianistes de blues nous conduit &agrave; remonter vers Chicago en passant par Memphis o&ugrave;, dans les studios Sun de Sam Phillips, se mitonne une dr&ocirc;le de cuisine agr&eacute;ment&eacute;e d&rsquo;&eacute;pices et de parfums divers, et o&ugrave; Noirs et Blancs se m&eacute;langent : un peu de blues dans le hillbilly, un peu de rockabilly dans le rhythm and blues. Le jeune pianiste et guita&shy;riste <strong><em>Ike Turner</em></strong> (1931-2007) m&egrave;ne une intense activit&eacute; de talent-scout, dirige son propre orchestre et accompagne &agrave; peu pr&egrave;s tout le monde (Elmore James, Howlin&rsquo; Wolf, B.B. King, Rosco Gordon, Little Milton, Johnny Ace, etc.). Il obtient un grand succ&egrave;s avec Rocket 88, que chante Jackie Brenston, v&eacute;ritable proto-rock &lsquo;n&rsquo; roll. Son accompagnement derri&egrave;re le chant de Bobby Bland n&rsquo;est peut-&ecirc;tre pas d&rsquo;une grande vari&eacute;t&eacute;, mais le c&ocirc;t&eacute; un peu informel et le son de l&rsquo;ensemble produisent une attachante couleur &ldquo;de terroir&rdquo;.<br />Parmi les nombreux disques qui sortent des studios Sun, celui publi&eacute; sous l&rsquo;&eacute;nigmatique pseudonyme de Lou Sargent fait entendre un pianiste, <em><strong>Phineas Newborn Jr</strong></em> (1931-1989) qui se fera plus tard une r&eacute;putation dans les milieux du jazz plus moderne. Contrairement &agrave; Ike Turner pour qui le piano n&rsquo;est qu&rsquo;un instrument d&rsquo;accompagnement &ndash; il lui pr&eacute;f&egrave;rera bient&ocirc;t la guitare &ndash;, Newborn est un pianiste virtuose &agrave; la technique accomplie qui va chercher son imspiration autant chez Art Tatum que chez Bud Powell ou Erroll Garner. Mais, y compris dans ses musiques plus ambitieuses, il ne perdra jamais l&rsquo;essence du blues de ses d&eacute;buts &agrave; Memphis lorsqu&rsquo;il accompagnait B.B. King. Malgr&eacute; un piano un peu r&eacute;sonnant qui ne doit pas &ecirc;tre de la plus haute qualit&eacute;, Newborn, servi par une main gauche exceptionnelle, joue, dans Ridin&rsquo; The Boogie, une partie assez fulgurante.</span></p><br /><p><span class=Texte>Memphis a toujours aliment&eacute; en grand nombre les bataillons de bluesmen de Chicago. Le bien surnomm&eacute; <em><strong>Memphis Slim</strong></em> (Peter Chatman, 1915-1988) ne tarda pas, avec son petit orchestre R&amp;B, &agrave; inclure quelques solides boogies &agrave; son r&eacute;pertoire. Pianiste brillant sinon grand technicien, il avait l&rsquo;art de donner beaucoup de pr&eacute;sence et de poids &agrave; son jeu, tant dans les blues low down que dans ses morceaux de bravoure.<br />Beaucoup plus mesur&eacute;, <strong><em>Eddie Boyd</em></strong> (1914-1994) &eacute;tait avant tout, lui aussi, un tr&egrave;s bon pianiste de blues au jeu complet, profond et nuanc&eacute;. On per&ccedil;oit cet &eacute;quilibre, ce contr&ocirc;le et cette absence de fioritures dans son Eddie&rsquo;s Blues conduit sur un tempo de croisi&egrave;re id&eacute;al, o&ugrave; les notes sont appuy&eacute;es juste l&agrave; o&ugrave; il le faut.<br />Comme Eddie Boyd, <strong><em>Little Johnny Jones</em></strong> (1924-1964) appartient &agrave; cette g&eacute;n&eacute;ration de pianistes de blues de Chicago qui a donn&eacute; une nouvelle impulsion &agrave; l&rsquo;instrument en le faisant entrer dans des blues bands tr&egrave;s amplifi&eacute;s (les guitares, l&rsquo;harmonica) o&ugrave; sa place n&rsquo;&eacute;tait pas assur&eacute;e d&rsquo;avance. Johnny Jones n&rsquo;a malheureusement pas effectu&eacute; de carri&egrave;re personnelle, mais a enrichi fortement les disques de Tampa Red et d&rsquo;Elmore James. L&rsquo;orchestre de ce dernier laisse ici le champ libre au t&eacute;nor J.T. Brown qui s&rsquo;offre un parcours complet au pas de course, suivi comme son ombre par le piano qui, de plus en plus proche, non seulement le maintient dans la direction, mais le pousse &agrave; aller encore davantage de l&rsquo;avant !<br />Le nomade <strong><em>Roosevelt Sykes</em></strong> (1910-1992) avait un temps, parmi ses p&eacute;r&eacute;grinations, pos&eacute; son sac &agrave; Chicago. Il prom&egrave;ne un jeu tout en contrastes, bourr&eacute; d&rsquo;accentuations, manquant peut-&ecirc;tre de construction et de logique mais qui r&eacute;jouit par son drive et son enthousiasme.</span></p><br /><p><span class=Texte>Au moment m&ecirc;me o&ugrave; les formations R&amp;B &eacute;clatent sur la West Coast, mais de fa&ccedil;on encore &ldquo;souterraine&rdquo;, la Nouvelle-Orl&eacute;ans est en train de rena&icirc;tre. Non que la musique ait d&eacute;sert&eacute; les rues et les clubs du Vieux Carr&eacute;, mais les meilleurs musiciens de la ville sont depuis longtemps partis exercer leurs talents sous d&rsquo;autres cieux. Ils ont impos&eacute; leur musique magnifique dans tout le pays en m&ecirc;me temps que celle-ci faisait la conqu&ecirc;te du monde entier. Bref, durant les deux d&eacute;cennies qui ont vu le jazz s&rsquo;affirmer et &eacute;voluer sous toutes les latitudes, la Nouvelle-Orl&eacute;ans s&rsquo;est un peu content&eacute;e, &agrave; l&rsquo;&eacute;cart des grands mouvements et sans l&rsquo;appui d&rsquo;un studio d&rsquo;enregistrement, de vivre sur elle m&ecirc;me et de tourner en rond. Or, c&rsquo;est une v&eacute;ritable renaissance qui est en train de se produire apr&egrave;s guerre avec l&rsquo;arriv&eacute;e d&rsquo;une nouvelle g&eacute;n&eacute;ration qui apporte, avec une bonne dose de blues et de boogie-woogie, de nouvelles couleurs &agrave; la Cit&eacute; du Croissant qui, par ailleurs, se dote enfin d&rsquo;un studio !<br />La ville poss&eacute;dant une longue tradition de pianistes, c&rsquo;est tr&egrave;s largement autour de cet imstrument que vont se former des petits orchestres o&ugrave; les vents et les rythmes &ndash; l&agrave; aussi tradition oblige &ndash; donnent le ton. Deux pianistes, Leon T. Gross dit <strong>Archibald</strong> (1912-1973) et Henry Roeland Byrd dit <strong>Professor Longhair</strong> (1918-1980), sont &agrave; l&rsquo;origine de ce nouveau courant, aid&eacute;s pour la partie orchestrale par le trompettiste Dave Bartholomew que l&rsquo;on consid&egrave;re comme &ldquo;l&rsquo;inventeur&rdquo; du rhythm and blues n&eacute;o-orl&eacute;anais. Sans &ecirc;tre de purs sp&eacute;cialistes du boogie, ils jouent l&rsquo;un comme l&rsquo;autre une musique qui &ldquo;danse&rdquo;, qui se d&eacute;hanche en s&rsquo;appuyant sur des d&eacute;calages rythmiques. Le jeu tr&egrave;s chantant d&rsquo;Archibald est aliment&eacute; et enrichi de cr&eacute;pitements dans les aigus, comme les fus&eacute;es d&rsquo;un feu d&rsquo;artifice. Le rythme du Professor Longhair, faussement bancal, donne l&rsquo;impression d&rsquo;une rumba rapide. Peu d&rsquo;interventions solistes chez ces pianistes mais une assise &agrave; la fois insistante et nonchalante servant &agrave; diffuser tout le parfum et la saveur de leur musique. Ces deux musiciens auront une &eacute;norme influence sur tous les pianistes de la ville, de Fats Domino &agrave; Allen Toussaint en passant par Ellis Marsalis et James Booker.</span></p><br /><p><span class=Texte>Lorsqu&rsquo;il rencontre Bartholomew en 1949, Antoine dit <strong>Fats Domino</strong> (n&eacute; en 1928), alors pianiste de bar, trouve le complice id&eacute;al pour combiner, avec un dosage parfait, tous les ingr&eacute;dients pour en faire la meilleure cuisine musicale de l&rsquo;&eacute;poque. La Nouvelle-Orl&eacute;ans attire &agrave; nouveau l&rsquo;attention ; les grands chanteurs Big Joe Turner et Ray Charles s&rsquo;y installent un temps et y enregistrent, en tirant grand profit. La West Coast perdant son leadership, c&rsquo;est New Orleans qui reprend le flambeau du R&amp;B et lui donne une impulsion nouvelle. Fats Domino en est la figure de proue. Chanteur bient&ocirc;t c&eacute;l&egrave;bre, c&rsquo;est aussi un excellent pianiste de boogie dans la grande tradition qui fait rouler les basses et sait installer un matelas moelleux sous son orchestre. Une pi&egrave;ce rapide, comme Fats Frenzy, montre bien son omnipr&eacute;sence et la fa&ccedil;on qu&rsquo;il a de mener le jeu, &agrave; la fois le sien propre et celui de tout l&rsquo;orchestre.</span></p><br /><p><span class=Texte><strong>LE PIANO BOOGIE DANS LE ROCK &lsquo;N&rsquo; ROLL</strong><br />Apr&egrave;s avoir &eacute;t&eacute; un &eacute;l&eacute;ment constitutif des musiques de rhythm and blues, le piano boogie va s&rsquo;installer durablement dans les musiques populaires, m&ecirc;me si le r&ocirc;le accru des sections rythmiques et leur amplification lib&egrave;rent l&rsquo;instrument de sa fonction d&rsquo;accompagnateur complet. Fats Domino, avec l&rsquo;ouverture, encore difficile, de la cloison qui s&eacute;pare les mondes musicaux noirs et blancs, est parmi les premiers &agrave; p&eacute;n&eacute;trer le nouveau march&eacute; des teenagers am&eacute;ricains. Sa bonhomie rassure. Mais bient&ocirc;t, avec le m&ecirc;me orchestre, Richard Penniman dit <strong>Little Richard</strong> (n&eacute; en 1932) va montrer une image totalement diff&eacute;rente de la jeunesse afro-am&eacute;ricaine. Il crie, il hurle, il saute, danse, se tr&eacute;mousse, grimpe sur le piano et atteint des paroxysmes jusque-l&agrave; r&eacute;serv&eacute;s aux tonitruants preachers des &eacute;glises sanctifi&eacute;es. Son piano, martel&eacute; avec vigueur, lui sert &agrave; &ldquo;pousser&rdquo; le chant et les solos de saxos-t&eacute;nors &ndash; l&rsquo;instrument soliste n&deg;1 comme chez Domino. Une efficacit&eacute; brute mais hautement ma&icirc;tris&eacute;e.<br />Avec Tutti Frutti, l&rsquo;entr&eacute;e en fanfare de la musique populaire noire dans le rock &lsquo;n&rsquo; roll &eacute;tait, comme nous pouvions le pressentir, perceptible depuis un certain temps. <strong>Cecil Gant</strong> (1913-1951 ou 52), grand pianiste de boogie et vedette sur la c&ocirc;te Ouest (1, 3), ach&egrave;ve sa courte carri&egrave;re avec un Rock Little Baby durant lequel il chante le &ldquo;rock &lsquo;n&rsquo; roll&rdquo; (en janvier 51) ! Il s&rsquo;accompagne toujours de sa mani&egrave;re typique, un contraste entre des notes tr&egrave;s aigu&euml;s &agrave; la main droite et un rythme fortement marqu&eacute; par la main gauche. Il laisse une large place &agrave; la guitare &eacute;lectrique, comme le fait &eacute;galement <strong>Jimmy McCrackin</strong> (n&eacute; en 1921), l&rsquo;un des chanteurs-pianistes californiens qui effectueront une longue carri&egrave;re. Dans Blues Blasters Boogie, le rythme rock est &eacute;galement tr&egrave;s marqu&eacute; et le piano boogie joue parfaitement son r&ocirc;le.<br />Piano : instrument de l&rsquo;orchestre, piano : instrument de studio. <strong>Harry Van Walls</strong> (n&eacute; en 1918), en d&eacute;pit de quelques disques enregistr&eacute;s sous son nom, n&rsquo;a jamais fait de carri&egrave;re publique. Mais il est l&rsquo;un des artisans, &agrave; New York, du &ldquo;son Atlantic&rdquo; qui, au tournant des ann&eacute;es 40/50, a commenc&eacute; &agrave; r&eacute;volutionner toute la musique de R&amp;B et l&rsquo;a amen&eacute;e, via le rock &lsquo;n&rsquo; roll, jusqu&rsquo;&agrave; la soul music. Quel r&eacute;gal d&rsquo;entendre ce pianiste tr&egrave;s fin, m&ecirc;me si son r&ocirc;le n&rsquo;est pas de se mettre en valeur, relancer, sur un after beat prononc&eacute;, le chant de Big Joe Turner. Lui aussi est en train de pousser avec sa forte carrure les deux battants de la porte lui permettant de p&eacute;n&eacute;trer de plain-pied dans le rock &lsquo;n&rsquo; roll. Premier &ldquo;chanteur de boogie-woogie&rdquo; de l&rsquo;Histoire, le grand Joe Turner avait ouvert notre second volume accompagn&eacute; par Pete Johnson. Il &eacute;tait tout naturel que cet immense blues shouter termine celui-ci. La boucle est boucl&eacute;e, a-t-on coutume de dire. L&rsquo;expression ne peut mieux tomber concernant le boogie-woogie, v&eacute;ritable &ldquo;musique en boucle&rdquo; qui semble ne s&rsquo;arr&ecirc;ter que pour mieux rebondir et nous maintenir dans un &eacute;tat de fascination sensorielle dont il est bien difficile de s&rsquo;extraire, une fois que nous avons &eacute;t&eacute; happ&eacute;s par son rythme contagieux.<br /><em>Jean BUZELIN</em><br />&copy; 2008 FRÉMEAUX &amp; ASSOCIÉS</span></p><br /><p><span class=Source>Notes :<br />(1) Voir le coffret Boogie Woogie Piano Vol. 2 &ldquo;The Boogie Craze&rdquo; (FA000)<br />(2) Voir le coffret Country Boogie (FA 160) r&eacute;alis&eacute; par G&eacute;rard Herzhaft<br />(3) Les r&eacute;&eacute;ditions de ce titre sont en g&eacute;n&eacute;ral erron&eacute;es car elles pr&eacute;sentent, &agrave; la suite, deux versions de la 1&egrave;re partie du morceau. Nous devons &agrave; Jacques Morgantini d&rsquo;avoir rassembl&eacute; les &ldquo;vraies&rdquo; deux parties dans le CD Boogie Woogie 1940/1950 (EPM/Jazz Archives 160082)<br />(4) Voir le coffret Boogie Woogie Piano (FA 036) qui, par ailleurs, raconte la gen&egrave;se, l&rsquo;histoire et d&eacute;finit le style du boogie-woogie.</span></p><br /><p><span class=Texte><strong><em>Nos remerciements s&rsquo;adressent en particulier &agrave; :</em></strong> Jean-Paul Levet, Philippe Lejeune et son oreille absolue, Jacques Morgantini dont la somptueuse discoth&egrave;que reste toujours &agrave; notre disposition, et &agrave; Michel Pfau pour ses conseils, son soutien et sa participation.</span></p><p><span class=Texte><strong><em>Photos et collections :</em></strong> Jacques Morgantini, Gilles P&eacute;tard, Michel Pfau, X (D.R.).&nbsp;</span></p><br /><p><span class=Soustitre><em>English notes</em></span><br /><span class=Texte>1945: the second world war had just finished, soon giving way to the cold war while, in parallel, what might be termed &ldquo;hot&rdquo; jazz would make way for a &ldquo;cooler&rdquo; version. Volume 2 (1) of the present series concentrated on the boogie woogie craze that traversed the country during the war years in which we emphasised the part played by piano boogie in the development of Afro-American music, leaving aside its role in big swing orchestras. A boogie woogie piece in the repertory of a big band was often only one number among many others. Once it became outmoded it was dropped from the programme, particularly as the recession was forcing many big bands out of business. As a result the piano often found itself alone, occasionally accompanied by double bass and drums thus once more having to become an entire orchestra in itself. We have already traced the various paths taken by boogie woogie piano in this difficult period from its creation in the late 19th century. The abrupt decline of boogie woogie, at least in its pure form, linked to post war events now forced its exponents either to change over to other styles or to enhance their groups with more robust instruments such as the saxophone or electric guitar, thus enabling them to give the genre a new sound. The revelation of Big Joe Turner towards the end of 1938 (1) proved that piano boogie could provide an excellent dynamic, swinging backing for vocalists. And a good singer was always a popular showpiece for a big band. It had also been evident for some time &ndash; mainly in Kansas City &ndash; that piano boogie gave big bands that extra beat and rhythm, providing the type of backing that engendered a swinging front line while, at the same time, staying close to traditional black roots because it relied extensively on the blues.&nbsp; This was immediately recognised by Lionel Hampton who formed a big band at a time when most of them were folding! By realising the potential of boogie woogie as something more than a mere accessory he soon proved he was right. Not only did he succeed in developing and maintaining his big band over many years, he was also an inspiration to countless other smaller groups eager to achieve the same results. Within the space of a few years the musical world was turned upside down. Although it had little influence on new jazz tendencies, at least in the early years, boogie woogie soon infiltrated all forms of American popular music, both black and white. Country &amp; Western, following the example of Western Swing, included piano boogie extensively in their groups, leading to Country Boogie (2). While this development is not part of our present survey, it should not be forgotten that both white rockabilly on the one hand and black rhythm and blues on the other, acting as a go-between, would play a part in the birth of rock &lsquo;n&rsquo; roll, represented by Jerry Lee Lewis on one hand and Little Richard on the other. A boogie woogie pianist became one of the key elements in numerous small bands that provided the type of blues and jazz so popular with dancers and would prove to be one of the strongest influences on what later became known as Rhythm &amp; Blues (R&amp;B). </span></p><br /><p><span class=Texte>Our previous album covered the turbulent period from the renaissance of boogie woogie to its passage through jazz towards rhythm and blues, concentrating on the role of piano as a solo instrument. We now take up the story, tracing its evolution, our spotlight still focused on the piano but as part of an entire orchestra. In fact, boogie woogie is a solid resistant musical form that, in the hands of a good pianist, is not easily submerged by more powerful instruments aided by microphones!&nbsp;Some pianist approach this more cautiously, especially those who have a good relationship with true jazzmen, Albert Ammons and Pete Johnson in particular. Other more authentic characters, who had spent their time in noisy dives where they had to fulfil the role of a complete band, were too individualistic to make their mark alongside musicians who left them little room to express themselves. It is hard to imagine Jimmy Yancey or Cripple Clarence Lofton adapting to the mould of a big band! And then there were those like Meade Lux Lewis or Hadda Brooks who, by choice or as a result of their star status, preferred to remain in the limelight accompanied by just one or two musicians who did what they wanted.</span></p><br /><p><span class=Texte><strong>PIANO BOOGIE IN JAZZ</strong><br /><strong><em>Albert Ammons</em></strong> (1907-1949) is a superb example of the successful blend of boogie woogie and jazz, as he chooses here to play a 32-bar theme although usually it is the 12-bar blues that forms the basis of piano boogie. Leading with his usual mastery and rigour, he still leaves room for a solo from guitarist Ike Perkins. A piano boogie specialist, Ammons had also had big band experience for, when he was discovered in Chicago in 1936, he was already fronting the &ldquo;Rhythm Kings&rdquo; with whom he made his first record. Invited by Lionel Hampton to take part in one of his smaller ensembles, Ammons&rsquo; powerful well balanced playing brought something different from that of Milt Buckner, the boogie alter ego of the vibraphonist, on a reprise of Chicken Shack Boogie, an Amos Milburn hit.<br />His old partner <strong><em>Pete Johnson</em></strong> (1904-1967) also rubbed shoulders with big bands. He too frequented jazzmen who appreciated his ability to play outside the classic boogie woogie structure. He also played in quartet with a guitarist, here Carl Lynch on Hollywood Boogie who punctuates some typical Johnsonian piano with some interesting interjections. Attracted by the bright lights of the West Coast, he joined up with his old accomplice Big Joe Turner and accompanied him anew, not in duo this time but with the small rhythm and blues combo featured here. His Rocket 88 Boogie in two parts (3) is a small piano concerto in itself backed by saxophone riffs. The reprise is more flexible and, after more riff sequences, it&rsquo;s tenor sax Maxwell Davis who takes the limelight. <br />The third member of the &ldquo;Boogie Woogie Trio&rdquo; that made its name at the New York Caf&eacute; Society (4) <strong><em>Meade Lux Lewis</em></strong> (1905-1964) tended to hold back from the orchestral scene, preferring to appear as a solo artist in chic bars and clubs. Although, like his two colleagues, he did occasionally accompany Big Joe Turner, he generally ignored the domain of rhythm and blues. This is a pity because his powerful backing for singer Helen Humes proved what a reliable accompanist he was.<br />The outstanding instrument in these early days of rhythm and blues &ndash; the term R&amp;B was not officially recognised until 1949 - was the saxophone, very popular with fans. Following on from Illinois Jacquet and Arnett Cobb, it provided a bridge between jazz and rhythm and blues. Numerous musicians e.g. Jack McVea led their own orchestra including various soloists. McVea&rsquo;s great hit of the time, Bartender Boogie, is a solid boogie that chiefly highlights the little known pianist <strong><em>Bob Mosley</em></strong> (or Mosely), a true specialist who went on to record a series of boogie woogie solos. <br />When we dig a little deeper into jazz we find that boogie woogie performances were not limited to big bands. <strong><em>Kenny Kersey</em></strong> (1916-1983), an excellent jazz and boogie pianist gave enthusiastic performances both with Andy Kirk&rsquo;s &ldquo;Clouds of Joy&rdquo; (Boogie Woogie Cocktail) where he replaced Mary Lou Williams, and with smaller formations such as Red Allen&rsquo;s. Although each soloist takes off on his two choruses, the omnipresent Kersey stands out on this K.K. Boogie, taken at top speed, with his incomparable mastery and perfect musical approach. The drummer, Jimmy Hoskins, is the same who accompanied Ammons and Johnson on their fabulous duos for RCA-Victor (4).<br />Both Andy Kirk and Pete Johnson were from Kansas City where something in the air (in spite of social unrest) seemed propitious for jazzmen. <em>Count Basie</em> (1904-1984), who was finding it difficult to keep his big band going at the time, surrounded himself with young musicians like Paul Gonsalves who snatches a solo on this Saint Louis Boogie which the Count fronts in his usual sparse style. He rarely lets his rolling left hand continue too long, preferring to alternate the piano/orchestral parts.<br /><strong><em>Mary Lou Williams</em></strong> (1910-1981) who left Andy Kirk&rsquo;s orchestra after thirteen years during which she left an indelible mark, is a brilliant pianist whose constantly evolving style relied on both stride and boogie woogie (Roll &lsquo;Em). In 1946 she founded an entirely female orchestra. Boogie Misterioso features a piano/vibraphone/guitar trio that treats us to some delicate swing including breaks, stop choruses and exchanges within a surprising and original harmonic structure which gives an ethereal, almost unreal, air to this little jewel which the pianist punctuates with irregular left hand chords.<br />Another Kansas City native, <strong><em>Jay McShann</em></strong> (1909 or 16-2006), also wound up his big band before heading for the West Coast in 1945 where he got together a jazz/rhythm and blues formation which accompanied various singers, in particular Jimmy Witherspoon, and produced unpretentious but first rate music. Although he chose not to confine himself to a too rigid form of boogie he does occasionally incorporate it into his own original laid back style backed by a series of simple riffs.<br />The vocalists who accompanied Jay McShann included, in 1944, <strong><em>Julia Lee</em></strong> (1902-1958) who earlier in Kansas City been the pianist in her brother&rsquo;s orchestra, George E. Lee. After this interlude she took up the piano again and embarked on a new career as pianist/vocalist, achieving a number of hits in the R&amp;B charts up to 1952, while still sticking to a jazzy style both rhythmically and in her solos. This is why she, too, in her piano backing to the instrumentals makes only rare use of boogie bass.<br />In the case of <strong><em>Sammy Price</em></strong> (1908-1992) Kansas City was merely a stopover between his native Texas and Chicago, Detroit and then New York where, in addition to accompanying numerous vocalists on record, he formed a small jazz band which became one of the first to give a large place to boogie woogie (and the blues). His perfect sense of medium tempo and musical structure make for beautifully balanced little numbers. Just listen to how the piano orchestrates the theme played by the wind instruments and how solidly built his short solo intervention is. <br />The equally disciplined but more exuberant <strong><em>Milt Buckner</em></strong> (1915-1977), a native of Saint Louis, joined Lionel Hampton in 1941 as pianist and principal arranger. Together with the leader, he was responsible for those breathtakingly crazy boogie woogies (Hamp&rsquo;s Boogie Woogie) that were the orchestra&rsquo;s hallmark. He then formed a small group (before in turn trying his hand at leading a big band) for which he transposed his orchestral compositions based on his own rich piano style and block chord technique. He interprets here a Fatstuff Boogie in pure Hampton style, including breaks and a tenor solo swinging into a final crashing crescendo. Milt Buckner&rsquo;s orchestral ideas would develop even further when he moved over to Hammond organ as well as piano.<br />Another pianist/arranger (and sometime vocalist) <em><strong>Ace Harris</strong></em> (1910-1964) was less well known, partly because he retired from the music scene very early. In 1944 he replaced Avery Parrish, composer of the celebrated After Hours, in Erskine Hawkins big band with whom he wrote the famous Hawk&rsquo;s Boogie showing how gifted he really was. He introduces his jazzy MFT Boogie before making way for Eddie Davis&rsquo; tenor solo, then produces some remarkable right hand variations, backed by a powerful left hand, the whole band generating enormous swing.</span></p><br /><p><span class=Texte>Having become so popular it was inevitable that boogie woogie infiltrated every musical genre and all types of orchestras during the 40s. It was played and sung by vocalists ranging from Big Joe Turner to the Andrew Sisters and even Yves Montand for boogie was exported along with G.I.s and Virginia cigarettes! Its presence in the repertory of a vocal/instrumental jive group, especially if the vocals were based largely on the blues, was more a matter of detail. It was in 1939 that bass player (and future prolific blues writer) Willie Dixon met <strong><em>Leonard Caston Jr</em></strong> (1917-1987) who divided his time between piano, guitar and studio work. Part of the &ldquo;Big Three Trio&rdquo; that he co-founded in 1946 &ldquo;Baby Doo&rdquo; Caston confined himself to piano, with guitar being handed over a year later to Ollie Crawford. His simple, yet brilliant, playing with its crystal clear high notes perfectly filling the intervals between contributions from his fellow musicians, the vocals being sung in unison. <br />While the &ldquo;Big Three Trio&rdquo; represented a genre rooted in the past, the jive torch, also carried by Slim Gaillard whose double entendres and use of slang delighted black urban audiences, was taken over by Louis Jordan when he formed his &ldquo;Tympany Five&rdquo;. For over ten years the popularity of this saxophonist continued to increase with both black and white fans. Alongside Lionel Hampton&rsquo;s big band it was Jordan&rsquo;s small formation which served as the main inspiration for numerous small combos that, from 1945 on, would spring up everywhere. Almost any type of music was grist to the mill of the &ldquo;daddy of rhythm and blues&rdquo; from which he created a marvellous swinging blend with boogie woogie as part of the mix. For example, on his well known Choo-Choo Ch&rsquo; Boogie there is some piano boogie with a strong hint of shuffle played by <strong><em>Wild Bill Davis</em></strong> (1918-1995) who, however, never really became a great boogie exponent and soon gave up the piano in favour of the organ. <br />A more marginal character was Willie Lee Perryman known as <strong><em>Piano Red</em></strong> (1911-1985), younger brother of Speckled Red (4), who moved around from Atlanta to Nashville via New York, having some success with his own laid back style, a mixture of the clamorous sound born in the dives of the Deep South and a jumping rhythm borrowed from country music. His Red&rsquo;s Boogie, unusual in that it was based on an 8-bar beat, is a good example of this type of informal barrelhouse, where several repetitive themes alternate with ascending accompaniment.</span></p><br /><p><span class=Texte><strong>PIANO BOOGIE IN RHYTHM AND BLUES</strong><br />The late 40s saw the spotlight on black music move from east to west. An important movement was growing on the Californian coast which had seen the influx, during the war years, of a large coloured population from Texas and other neighbouring states. These new immigrants demanded musical entertainment that was provided mainly by singers and pianists such as Nat King Cole, Charles Brown, Cecil Gant, Hadda Brooks &hellip;(1) These trios were soon joined by small bands based on the model of Louis Jordan&rsquo;s &ldquo;Tympany Five&rdquo; with a more bluesy approach. Drummer Roy Milton and pianist Joe Liggins were not only the first to emerge, but they immediately took over the top spots in the hit parades based on record sales in the black community. The impetus was given and, following in their footsteps, countless singers and musicians formed similar groups in the hope of reaching the top!<br />Some, who had specialised in boogie woogie like <strong><em>Hadda Brooks</em></strong> (1916-2002), continued in the same vein, adding a couplet here a saxophone there, paying little heed to the competition. An accomplished pianist and excellent jazz and blues woman, Brooks&rsquo; fans were to be found in chic Los Angeles bars. Nightmare Boogie, a version of the archetypal Pinetop&rsquo;s Boogie Woogie with a touch of Basie, is fairly close to R&amp;B with its addition of a tenor sax and a heavier use of drums.<br />A jazz pianist strongly influenced by the blues, Texan <strong><em>Lloyd Glenn</em></strong> (1909-1985) plays a Boogiology with a railroad shuffle accompaniment typical of his style at the time, plus some nice exchanges between the piano and Gene Phillips on guitar. These small combos, after making a name for themselves locally, following the success of their records began to play further afield, finally touring the whole country. As a result they influenced an entire branch of R&amp;B. A majority of them constructed their music on a solid boogie woogie base, whose rhythms were ideal for dancing thus appealing to the younger generation. When they were not pianists themselves bandleaders quickly hired a boogie player capable of both fitting into the group&rsquo;s overall sound and of providing impeccable backing. <br />One of these was <strong><em>Devonia &ldquo;Lady Dee&rdquo; Williams</em></strong>, pianist with the Johnny Otis band from 1947 to 1956. Her rhythmic playing and clockwork timing provided immense drive for soloists and vocalists &ndash; Little Esther Phillips and Mel Walker on Cupid&rsquo;s Boogie &ndash; and, at the same time, her right hand enhanced the orchestral parts. She has left very few solos behind, even on the sides she recorded under her own name, but she remains a very strong presence as on Dee&rsquo;s Boogie.<br />The pianist in drummer/vocalist Roy Milton&rsquo;s &ldquo;Solid Senders&rdquo;, <strong><em>Camille Howard</em></strong>, (1914-1993) on the other hand, has left a large number of solos, both on her own records (1) and on her leader&rsquo;s who gave her plenty of space. She played no small part in the orchestra&rsquo;s success, staying with the band for ten years from 1945 to 1955. Her solid rocking boogie formed the core of the ensemble and provided an excellent backing.<br /><strong><em>Clarence &ldquo;Bo&rdquo; Cyphers</em></strong>, whose reputation was more modest, cut several sides in 1950 under the name of Bubber Cyphers and is also an example, even in the background of guitar/vocalist Joe Liggins&rsquo; band that he joined in the late 40s, of a strong boogie woogie presence. Saturday Night Boogie Woogie Man is an interpretation in the style of Amos Milburn&rsquo;s Chicken Shack Boogie.<br /><strong><em>Amos Milburn</em></strong> (1926-1980) himself was one of numerous vocalist/pianists on the West Coast who fronted their own formations. Before becoming a R&amp;B star, Milburn became known for the amazing boogie woogie pieces which would ensure him a place in history. On Amos&rsquo; Blues, a sung version of his Amos&rsquo; Boogie (1), he works up some great swing backed by rolling piano bass and a light rhythm section. An impressive soloist, his piano also feeds the following sax chorus. Down The Road Apiece, with its half-spoken, half-sung vocal, includes three absolutely perfect piano choruses comparable to the best of Pete Johnson. Not a single note needs to be added or removed.<br />Less gifted yet still very competent, pianist and vocalist <strong><em>Joe Liggins</em></strong> (1915-1987), Jimmy&rsquo;s elder brother, had a huge hit in 1945 with The Honeydripper, hit of the year with black audiences and even some white fans. Although not a boogie specialist, he manages very well on Dripper&rsquo;s Boogie, skilfully orchestrating the various contributions with an innate sense of harmony. <br />A good number of pianists who made a career for themselves in California came from Texas. If we look back at these roots we find several other pianists playing in a style that had been popular in the 20s. <strong><em>Willie Johnson</em></strong>, who recorded abundantly in Houston between 1949 and 1954, had a fairly rudimentary technique but Sampson Street Boogie, recorded on an upright piano (like in a juke joint!) throws some light on this somewhat archaic style. Another fairly basic musician <strong><em>Lavada</em></strong> (or Lavarda) <strong><em>Durst</em></strong> (1910-1996), a.k.a. &ldquo;Dr. Hepcat&rdquo; and a DJ in Austin, interprets the Texan 8-bar blues classic Hattie Green.</span></p><br /><p><span class=Texte>Boogie woogie was a natural element in the playing of blues pianists and this leads us north to Chicago via Memphis where, in Sam Phillips Sun studios, an unusual hotchpotch was brewing, made up of many different flavours, the whole a blend of black and white: a touch of blues in hillbilly, a hint of rockabilly in rhythm and blues. The young pianist and guitar player <strong><em>Ike Turner</em></strong> (1931-2007) worked hard as a talent scout, fronting his own orchestra and accompanying practically everybody (Elmore James, Howlin&rsquo; Wolf, B.B. King, Rosco Gordon, Little Milton, Johnny Ace etc.). He had a big hit with Rocket 88, sung by Jackie Brenston, veritable proto-rock &lsquo; n &rsquo;roll. His backing of Bobby Bland is perhaps not very varied but the informal approach and overall sound has an attractive tang of the soil. <br />The numerous record issued by Sun included one under the enigmatic pseudonym of Lou Sargent featuring pianist <strong><em>Phineas Newborn Jr</em></strong> (1931-1989) who would go on to make a name for himself in more modern jazz. Contrary to Ike Turner for whom the piano was merely a backing instrument &ndash; he soon came to prefer guitar &ndash; Newborn is a technically accomplished pianist, inspired as much by Art Tatum as Bud Powell or Erroll Garner. But even on his more ambitious pieces he never loses that feeling for the blues gained in his early Memphis days when he accompanied B.B. King. In spite of a not very good echoing piano, Newborn uses his excellent left hand to great effect on Ridin&rsquo; The Boogie. </span></p><br /><p><span class=Texte>Memphis has always contributed to the ranks of Chicago bluesmen. The aptly named <strong><em>Memphis Slim</em></strong> (Peter Chapman 1915-1988) soon began to include some solid boogies in his small R&amp;B band. A brilliant pianist, he brought a certain presence and weight to his playing, whether low down blues or his more extravagant offerings.<br />The more moderate <strong><em>Eddie Boyd</em></strong> (1914-1994) was, above all, a very good blues pianist. His well-balanced control and absence of any unnecessary flourishes can be seen on his Eddie&rsquo;s Blues taken at an ideal cruising tempo, each note emphasised just where it should be.<br />Like Eddie Boyd, <em><strong>Little Johnny Jones</strong></em> (1924-1964) belonged to that generation of Chicago blues pianists who gave a new impetus to the instrument by introducing it into amplified blues bands (guitars, harmonica) where its place was assured in advance. Unfortunately, Johnny did not pursue an independent career but certainly added something to the recordings of Tampa Red and Elmore James. The latter&rsquo;s line up here leaves a clear field for J.T. Brown&rsquo;s tenor solo, taken at breakneck speed, closely backed by the piano which not only keeps him going but drives him to even greater heights!<br />During his wanderings the nomadic <strong><em>Roosevelt Sykes</em></strong> (1910-1992) hung up his hat for a while in Chicago. His varied style, full of accented chords, although perhaps lacking somewhat in logical construction, is certainly not lacking in drive and enthusiasm.</span></p><br /><p><span class=Texte>At a time when R&amp;B formations were springing up all over the West Coast, although still behind the scenes, New Orleans was enjoying a renaissance. Not that music had deserted the streets and clubs of Le Vieux Carr&eacute;, but the best musicians had long gone off in search of pastures new. They had made their wonderful music known not only throughout the country but also world wide. During the two decades that had seen jazz assert itself, New Orleans, untouched by changes and with no recording studios, was content to remain in isolation. Then came a veritable post war renaissance with the advent of a new generation that brought an influx of blues and boogie woogie to the Crescent City that, moreover, had a recording studio at last! The city had a long tradition of pianists and it was mainly around this instrument that small groups were formed in which, as tradition demanded, wind instruments and the rhythm section played a prominent role. Two pianists, Leon T. Gross known as <strong><em>Archibald</em></strong> (1912-1973) and Henry Roeland Byrd known as <strong><em>Professor Longhair</em></strong> (1918-1980), were at the forefront of this new movement with the aid of trumpeter Dave Bartholomew who some consider the inventor of New Orleans rhythm and blues. Without being pure boogie specialists, they all played music that had a mighty swing based on breaks from the rhythm section. Archibald&rsquo;s melodious playing is enhanced by firework displays from the right hand while Professor Longhair&rsquo;s rhythm is reminiscent of a rapid rumba. Few piano solos but a nonchalant yet insistent backing conveys all the flavour of their music. These two musicians had an enormous influence on all the pianists in New Orleans, from Fats Domino to Ellis Marsalis, James Booker and Allen Toussaint. <br />Antoine known as <strong><em>Fats Domino</em></strong> (born in 1928) was working as a bar pianist when he met Bartholomew in 1949 and he found in him the ideal partner with whom to create some of the best music of the era. New Orleans once more attracted the attention of the two great vocalists Big Joe Turner and Ray Charles who settled there for a while and made some successful records. As the West Coast began to lose its leadership New Orleans took up the R&amp;B torch and gave it fresh impetus with Fats Domino the leading figure. Soon to become famous for his singing, he was also an excellent boogie pianist in the old tradition, a solid left hand providing a comfortable backing for his orchestra. An up tempo piece like Fats Frenzy clearly shows his omnipresence and his gifts of leadership.</span></p><br /><p><span class=Texte><strong>PIANO BOOGIE IN ROCK&rsquo;N&rsquo;ROLL</strong><br />After becoming an essential component of rhythm and blues, piano boogie would firmly install itself in popular music, even though the increasing role given to amplified rhythm sections meant the piano was no longer considered solely as accompaniment. Fats Domino, with the gradual lifting of the barrier separating black and white music, was one of the first to penetrate the new American teenage market. His good natured approach was reassuring but soon, with the same orchestra, Richard Penniman, a.k.a <strong><em>Little Richard</em></strong> (born in 1932) presented a totally different image to young Afro-Americans. He shouted, screamed, leapt about, wiggled his hips, climbed on the piano and reached a fever pitch of excitement hitherto reserved for the thundering orations of church preachers. He pounded his piano vigorously in a crude yet efficient way, driving the vocals and tenor sax solos, the leading solo instrument as with Domino. <br />With Tutti Frutti popular black music made a triumphal entry into rock &lsquo;n&rsquo;roll as had been on the cards for some time. <strong><em>Cecil Gant</em></strong> (1913-1951 or 52), a great boogie pianist and a star on the West Coast (1, 3), ended his short career with a Rock Little Baby during which he sings rock &lsquo;n&rsquo; roll (in January 1951!). He accompanies himself in his own particular style, a contrast between very high right hand notes and a strong rhythm marked by the left hand. He leaves plenty of room for the electric guitar, as does <strong><em>Jimmy McCracklin</em></strong> (born in 1921), one of the singer/pianists who had a long career. On Blues Blasters Boogie, there is also a very strong rock rhythm and the piano boogie plays a perfect role.<br />The piano is both an orchestra and a studio instrument. <strong><em>Harry Van Walls</em></strong> (born in 1918), in spite of a few records made under his own name, never had a public career. But, in New York, he was one of many exponents of the Atlantic sound which, in the late 40s/early 50s, began to revolutionise R&amp;B leading via rock &lsquo;n&rsquo; roll to soul music. What a treat it is to hear this delicate pianist, even though he kept out of the limelight, relaunching after a pronounced after beat Big Joe Turner&rsquo;s vocal. The latter was also in the process of pushing open the doors of rock &lsquo;n&rsquo; roll to gain an entry.<br />The first boogie woogie singer in history, Big Joe Turner opened our second volume accompanied by Pete Johnson and so we have come full circle. Boogie woogie itself is a music that goes round and round, unceasingly recreating itself and continuing to fascinate us once we have been in&shy;fected by its contagious rhythm.</span></p><p><span class=Texte>Adapted from the French text of <em>Jean BUZELIN </em>by <em>Joyce WATERHOUSE</em><br />&copy; 2008 FRÉMEAUX &amp; ASSOCIÉS</span></p><br /><p><span class=Source>Notes:<br />1) See Boogie Woogie Piano Vol. 2 &ldquo;The Boogie Craze&rdquo; (FA 000).<br />2) See Country Boogie (FA160) edited by G&eacute;rard Herzhaft.<br />3) Reissues of this title are generally erroneous for they present, one after the other, two versions of the 1st part of the piece. Thanks to Jacques Morgantini for having reassembled the two correct parts on the CD Boogie Woogie 1940/1950 (EPM/Jazz Archives 160082).<br />4) See Boogie Woogie Piano (FA 036) which, in addition, recounts boogie woogie&rsquo;s birth, its history and the definitive style.</span></p><br /><p><span class=Texte><strong>With special thanks to</strong> <strong>: </strong>Jean-Paul Levet, Philippe Lejeune and to the finely attuned ear of Jacques Morgantini whose sumptuous discotheque is always at our disposal and, and to Michel Pfau for his advice, his support and participation.</span></p><p><span class=Texte><strong>Photos and collections:</strong>&nbsp; Jacques Morgantini, Gilles P&eacute;tard, Michel Pfau, X (D.R.).</span></p><br /><p><span class=Texte><span class=Soustitre2>DISCOGRAPHIE </span><br /><span class=Soustitre>CD 1</span><br /><strong>&#8200;1. RHYTHM BOOGIE</strong> (A. Ammons)&nbsp;1365<br /><strong>&#8200;2. HOLLYWOOD BOOGIE</strong> (P. Johnson)&nbsp;R-1309-4<br /><strong>&#8200;3. ROCKET 88 BOOGIE Pt 1 &amp; 2</strong> (P. Johnson - J. Lauderdale)&nbsp;4052/4053<br /><strong>&#8200;4. BE BA BA LE BA BOOGIE</strong> (H. Humes)&nbsp;BW 250<br /><strong>&#8200;5. K.K. BOOGIE</strong> (K. Kersey - H. Allen)&nbsp;30270-1<br />&#8200;<strong>6. BARTENDER BOOGIE </strong>(J. McVea - B. Mosley)&nbsp;BW 115<br /><strong>&#8200;7. BOOGIE WOOGIE MOAN</strong> (S. Price)&nbsp;69368A<br /><strong>&#8200;8. SAINT-LOUIS BOOGIE</strong> (C. Basie)&nbsp;D7-VB-887-1<br /><strong>&#8200;9. BOOGIE MISTERIOSO</strong> (M.L. Williams )&nbsp;D6-VB-2527<br /><strong>10. BAD TALE BOOGIE</strong> (J. McShann)&nbsp;110-B<br /><strong>11. CHICKEN SHACK BOOGIE</strong> (A. Milburn)&nbsp;74727A<br /><strong>12. FATSTUFF BOOGIE</strong> (M. Buckner)&nbsp;35153<br /><strong>13. M.F.T. BOOGIE</strong> (A. Harris)&nbsp;HU-413-B<br /><strong>14. SNATCH AND GRAB IT</strong> (OPPORTUNITY KNOCKS BUT ONCE)(S.A. Pease)&nbsp;2043-3<br /><strong>15. BOOGIOLOGY</strong> (ROCKIN&rsquo; BOOGIE) (L. Glenn)&nbsp;IM-71<br /><strong>16. BIG THREE BOOGIE</strong> (L. Caston - W. Dixon)&nbsp;CCO 4984<br /><strong>17. RED&rsquo;S BOOGIE</strong> (W.L. Perryman)&nbsp;E0-VB-5223<br /><strong>18. CHOO-CHOO CH&rsquo; BOOGIE</strong> (V. Horton - D. Darling - M. Gabler)&nbsp;W-73305A<br /><strong>19. NIGHTMARE BOOGIE</strong> (H. Brooks)&nbsp;SP 112<br /><strong>20. CUPID&rsquo;S BOOGIE</strong> (J. Otis - H. Lubinsky)&nbsp;SLA 5116<br /><strong>21. DOWN THE ROAD APIECE</strong> (D. Raye)&nbsp;18-1</span></p><br /><p><span class=Texte>(1) Albert Ammons (piano) &amp; His Rhythm Kings : Ike Perkins (guitar), Israel Crosby (bass), Armand &ldquo;Jump&ldquo; Jackson (drums). Chicago, late 1948.<br />(2) Pete Johnson (piano) Quartet : Carl Lynch (guitar), Al McKibbon (bass), J.C. Heard (drums). New York City, October 29, 1947.<br />(3) Pete Johnson (piano) Sextet : Jewell Grant (alto sax), Maxwell Davis (tenor sax), Herman Mitchell (guitar), Ralph Hamilton (bass), Jesse Sailes (drums). Los Angeles, April 1949.<br />(4) Helen Humes (vocal), acc. by Meade Lux Lewis (piano), unknown (trumpet), Britt Woodman (trombone), Edmond Hall (alto sax), Wild Bill Moore (tenor sax), Irving Ashby (guitar), Red Callender (bass), Chico Hamilton (drums). LA, 1946.<br />(5) Henry &ldquo;Red&ldquo; Allen (trumpet) &amp; His Orchestra, featuring Kenny Kersey (piano) : J.C. Higginbotham (trombone), Edmond Hall (clarinet), Billy Taylor (bass), Jimmy Hoskins (drums). NYC, April 17, 1941.<br />(6) Jack McVea (tenor sax), poss. Jimmy Perdie (trumpet), Marshall Royal (alto sas, clarinet), Bob Mosley (piano), Frank Clarke (bass), Rabon Tarrant (drums). LA, October 1945.<br />(7) Sammy Price (piano) &amp; His Texas Blusicians : Chester Boone (trumpet), Floyd &ldquo;Stump&ldquo; Brady (trombone), Don Stovall (alto sax), Elbert &lsquo;Skippy&ldquo; Williams (tenor sax), Ernest &ldquo;Bass&ldquo; Hill (bass), Herbert Cowans (drums). NYC, June 13, 1941.<br />(8) Count Basie (piano), His Instrumentalists &amp; Rhythm : Emmet Berry (trumpet), George Matthews (trombone), Charles C.Q. Price (alto sax), Paul Gonsalves (tenor sax), Jack Washington (baritone sax), Freddie Green (guitar), Walter Page (bass), Jo Jones (drums). NYC, May 20, 1947.<br />(9) Mary Lou Williams (piano) Girl Stars : Mary Osborne (guitar), June Rotenberg (bass), Rose Gottesman (drums), Margie Hyams (vibes). NYC, July 24, 1946.<br />(10) Jay McShann (piano) &amp; His Jazz-Men : Major Evans (trumpet), Edmond Gregory &ldquo;Sahib Shihab&ldquo; (alto sax), Cleophus Curtis (tenor sax), Raymond Taylor (bass), Albert &ldquo;Cake&ldquo; Wichard (drums). LA, 1945.<br />(11) Lionel Hampton (vibes, vocal) &amp; His Orchestra : Benny Bailey, Richard &ldquo;Duke&ldquo; Garrette (trumpet), Johnny Board (alto sax), Gene Morris (tenor sax), Albert Ammons (piano), Wes Montgomery (guitar), Roy Johnson (bass), Earl Walker (drums). NYC, January 24, 1949.<br />(12) Milton Buckner (piano) &amp; The Beale Street Gang : unknown (trumpet), Ray Abrams (tenos sax), prob. Curley Russell (bass), Arthur Herbert (drums). NYC, December 8, 1947.<br />(13) Ace Harris (piano) &amp; Orchestra : unknown (trumpet), Eddie &ldquo;Lockjaw&ldquo; Davis (tenor sax), unknown (bass)(drums). NYC, 1945.<br />(14) Julia Lee (piano, vocal) &amp; Her Boy Friends : Ernie Royal (trumpet), Dave Cavanaugh (tenor sax), Jack Marshall (guitar), Harry Babasin (bass), Sam &ldquo;Baby&ldquo; Lovett (drums). LA, June 11, 1947.<br />(15) Lloyd Glenn (piano) &amp; His Joy Makers : Gene Phillips (guitar), Billy Hadnott (bass). LA, December 26, 1947.<br />(16) Big Three Trio : Leonard &ldquo;Baby Doo&ldquo; Caston (piano, vocal), Ollie Crawford (guitar, vocal), Willie Dixon (bass, vocal), Alphonse Walker (drums). Chicago, December 30, 1947.<br />(17) Piano Red (piano, vocal), W.J. Jones (bass), William R. Green (drums). Atlanta, GA, July 25, 1950.<br />(18) Louis Jordan (alto sax, vocal) &amp; His Tympany Five : Aaron Izenhall (trumpet), Josh Jackson (tenor sax), Wild Bill Davis (piano), Carl Horgan (guitar), Jesse &ldquo;Po&ldquo; Simpkins (bass), Eddie Byrd (drums). NYC, January 23, 1946.<br />(19) Hadda Brooks (piano), prob. Jimmy Black (tenor sax), Basie Day (bass), Al &ldquo;Cake&ldquo; Wichard (drums). LA, 1945.<br />(20) Little Esther &amp; Mel Walker (vocal) with Johnny Otis &amp; His Orchestra : prob. Don Johnson, Lee Graves (trumpet), George Washington (trombone), James Von Streeter, Lorenzo Holden (tenor sax), Walter Henry (alto &amp; baritone sax), Devonia Williams (piano), Pete &ldquo;Guitar&ldquo; Lewis (guitar), Mario Delagarde (bass), Leard &ldquo;Kansas City&ldquo; Bell (drums). LA, February 27, 1950.<br />(21) Amos Milburn, Singing and Accompanying Himself on Piano, unknown (bass)(drums). LA, September 12, 1946.</span></p><br /><p><span class=Texte><span class=Soustitre>CD 2</span><br /><strong>&#8200;1. AMOS BLUES</strong> (A. Milburn)&nbsp;19-2<br /><strong>&#8200;2. CAMILLE&rsquo;S BOOGIE</strong> (C. Howard)&nbsp;SP 510<br /><strong>&#8200;3. DEE&rsquo;S BOOGIE</strong> (D. Williams)&nbsp;SLA 505-3<br /><strong>&#8200;4. DRIPPER&rsquo;S BOOGIE</strong> (J. Liggins)&nbsp;SP 430<br /><strong>&#8200;5. SATURDAY NIGHT BOOGIE WOOGIE MAN</strong> (J. Liggins)&nbsp;JL-50<br /><strong>&#8200;6. SAMPSON ST. BOOGIE</strong> (W. Johnson)&nbsp;2059<br /><strong>&#8200;7. HATTIE GREEN</strong> (J. Pullum)&nbsp;201-A<br /><strong>&#8200;8. SLIM&rsquo;S BOOGIE</strong> (P. Chatman)&nbsp;5667<br /><strong>&#8200;9. EDDIE&rsquo;S BLUES</strong> (E. Boyd)&nbsp;D8-VB-3263<br /><strong>10. ROUND HOUSE BOOGIE</strong> (J.T. Brown)&nbsp;MR 5004<br /><strong>11. WALKIN&rsquo; THIS BOOGIE</strong> (R. Sykes)&nbsp;1128-4<br /><strong>12. RIDIN&rsquo; THE BOOGIE</strong> (S. Phillips - L. Chess)&nbsp;U 64<br /><strong>13. GOOD LOVIN&rsquo;</strong> (LOVE YOU BABY-LOVE YOU YES I DO) (R. Bland - D. Robey)&nbsp;MM-1825<br /><strong>14. CRESCENT CITY BOUNCE</strong> (L.T. Gross)&nbsp;IM-204<br /><strong>15. PROFESSOR&rsquo;S LONGHAIR&rsquo;S BOOGIE</strong> (H.R. Byrd)&nbsp;282<br /><strong>16. HEY! FAT MAN</strong> (A. Domino)&nbsp;IM-218<br /><strong>17. FATS FRENZY</strong> (A. Domino - D. Bartholomew)&nbsp;IM-264<br /><strong>18. TUTTI FRUTTI</strong> (D. LaBostrie - R. Penniman)&nbsp;XSP-561<br /><strong>19. ROCK LITTLE BABY</strong> (C. Gant)&nbsp;WL-80424<br /><strong>20. BLUES BLASTERS BOOGIE</strong> (J. McCracklin)&nbsp;MM-2063<br /><strong>21. BOOGIE WOOGIE COUNTRY GIRL</strong> (D. Pomus - R. Ashby)&nbsp;A 1688</span></p><br /><p><span class=Texte>(1) Amos Milburn, Singing and Accompanying Himself on Piano, Maxwell Davis (tenor sax), unknown (bass)(drums).<br />Los Angeles, September 12, 1946.<br />(2) Roy Milton (drums, vocal) Solid Senders with Camille Howard (piano) : Hosea Sharp (trumpet), Earl Simms (alto sax), William &ldquo;Bill&ldquo; Gaither (tenor sax), Clarence Jones (bass). LA, March 8, 1947.<br />(3) Dee Williams (piano) &amp; The California Playboys : John Anderson (trumpet), Gene Montgomery (tenor sax), Richard Brom (baritone sax), Charles &ldquo;Chuck&ldquo; Norris (guitar), Morris Edwards (bass), Roy Porter (drums). LA, February 18, 1949.<br />(4) Joe Liggins (piano, vocal) &amp; His Honeydrippers : Floyd Turnham (alto sax), William Woodman Jr (tenor sax), Little Willie Jackson (alto &amp; baritone sax), Harold Grant (guitar), William Cooper (bass), Nathaniel McFay (drums). LA, March 20, 1952.<br />(5) Jimmy Liggins (guitar, vocal) &amp; His Drops of Joy : unknown (trumpet)(alto sax), Maxwell Davis (tenor sax), Clarence &ldquo;Bo&rdquo; Cyphers (piano), Ralph Hamilton (bass), unknown (drums). LA, May 4, 1950.<br />(6) Willie Johnson (piano, comments) &amp; His Orchestra : Ed Wiley (tenor sax), Donald Cooks (bass), Ben Turner (drums). Houston, TX, 1950.<br />(7) Lavada Durst (piano, vocal) music by Dr. Hepcat &amp; Band : Wilmer Shakesnider, unknown (saxes)(guitar)(bass)(drums). Houston, 1949.<br />(8) Memphis Slim (piano, vocal), Alex Atkins (alto sax), Timothy Overton (tenor sax), Betty Overton (bass). Cincinnati, OH, January 1949.<br />(9) Little Eddie Boyd (piano) Trio : Willie James Lacey (guitar), Ransom Knowling (bass), Lawrence &ldquo;Judge&ldquo; Riley (drums). Chicago, December 24, 1948.<br />(10) J.T. Brown (tenor sax) Bep Brown orchestra : Little Johnny Jones (piano), Elmore James (guitar), Ransom Knowling (bass), Odie Payne Jr (drums). Chicago, November 1952.<br />(11) Roosevelt Sykes (piano, vocal), John &ldquo;Schoolboy&ldquo; Porter (guitar), Ransom Knowling (bass), prob. Armand &ldquo;Jump&ldquo; Jackson (drums). Chiacago, August 21, 1952.<br />(12) Lou Sargent : Luther Steinberg (trumpet), Tot Randolph (tenor sax), Phineas Newborn Jr (piano), Wilbur Steinberg (bass), Jeff Greyer (drums). Memphis, TN, May 1951.<br />(13) Bobby &ldquo;Blue&ldquo; Bland (vocal) with Ike Turner (piano) Orchestra : Matthew Murphy (guitar), L.C. Dranes (drums).<br />West Memphis, ARK, April 1952.<br />(14) Archibald (piano), Dave Bartholomew (trumpet), Joe Harris (alto sax), Clarence Hall (tenor sax), Ernest Mclean (guitar), Chuck Badie (bass), Thomas Moore (drums). New Orleans, 1950.<br />(15) Professor Longhair (piano, vocal) &amp; His Shuffling Hungarians : unknown (trumpet), Robert Parker (alto sax), unknown (tenor sax), Al Miller (drums). NO, 1949.<br />(16) Fats Domino (piano, vocal), Dave Bartholomew (trumpet), Joe Harris (alto sax), Herb Hardesty, Clarence Hall (tenor sax), Alvin &ldquo;Red&ldquo; Tyler (baritone sax), Ernest Mclean (guitar), Frank Fields (bass), Earl Palmer (drums), band (vocal). NO, September 1950.<br />(17) Fats Domino (piano) &amp; His Band : Wendell Ducong&eacute; (alto sax), Buddy Hagans, Lee Allen (tenor sax), Walter &ldquo;Papoose&ldquo; Nelson (guitar), Frank Fields (bass), Cornelius Coleman (drums). NO, July 1953.<br />(18) Little Richard (piano, vocal) &amp; His Band : Lee Allen (tenor sax), Red Tyler (baritone sax), Justin Adams (guitar), Frank Fields (bass), Earl Palmer (drums). NO, September 15, 1955.<br />(19) Cecil Gant (piano, vocal), unknown (guitar)(bass)(drums). NYC, January 19, 1951.<br />(20) Jimmy McCracklin (piano) &amp; His Orchestra : Johnny Parker, unknown (tenor sax), Lafayette Thomas (guitar), unknown (bass)(drums). Oakland, CA, early 1954.<br />(21) Big Joe Turner (vocal) with Van &ldquo;Piano Man&rdquo; Walls (piano) Orchestra : unknown (trumpet), Wilbur De Paris (trombone), unknown (tenor sax), Haywood Henry (baritone sax), unknown (guitar)(bass), Connie Kay (drums). NYC, November 3, 1955.</span></p><p><p><span class=Texte><br /><span class=Source>CD BOOGIE WOOGIE PIANO VOL. 3 &ldquo;FROM JAZZ TO RHYTHM &amp; BLUES AND ROCK &lsquo;N&rsquo; ROLL&rdquo; 1941-1955 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></span></p></p></p></span>"
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  4 => ProductListingLazyArray {#718
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    -link: Link {#163}
    -priceFormatter: PriceFormatter {#702}
    -productColorsRetriever: ProductColorsRetriever {#703}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#704
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Boogie Woogie Piano Vol 2

THE BOOGIE WOOGIE CRAZE 1938-1954

Version CD

29,99 €

Version Numérique

19,95 €

Rag’N Boogie (Piano Solo)- Sébastien Troendlé

Version CD

19,99 €

Version Numérique

9,95 €

Boogies On The Ball

SÉBASTIEN TROENDLÉ

Version CD

19,99 €

Version Numérique

9,95 €

Boogie Woogie Piano Vol 3

FROM JAZZ TO RHYTHM & BLUES AND ROCK'N'ROLL 1941-1955

Version CD

29,99 €

Version Numérique

19,95 €

Boogie Woogie Piano Vol 1

CHICAGO - NEW YORK 1924-1945

Version CD

29,99 €

Version Numérique

19,95 €