The Jim Dandies are an Italian based ensemble specialized in lowdown jazz, bawdy & hokum blues and early American Roots from the late 1800’s to the 1930’s.
Mr. Paolo Fornara, http://www.chicagosouthsidepiano.com host and maintainer, is formely The Jim Dandies art director and their pianist.
Here two examples of their playing during the recording of The Cellar …
Clarence M. Jones was one of those rare musicians able to adapt both his playing and compositional styles to new musical trends. As Jones’ piano roll recordings are the only known examples of his playing prior to 1923, these provide valuable insight into his adaptability and innovative ideas. Moreover, they clearly demonstrate how …
Clearly, the development of Chicago style jazz and blues piano had its roots in ragtime, and with the itinerant, now forgotten early gospel pianists who incorporated syncopation into their playing. With his immensely successful “Memphis Blues” of 1912, W.C. Handy formalized blues music as a distinct piano style. While still purely ragtime, Handy …
“Hawaiian Nightingale.” A very simple although lovely waltz by Vaughn DeLeath. Hardly to be considered within any discussion of jazz/blues or hot music. And yet, Clarence Johnson’s performance is a salient reminder that great talent produces great music. Johnson’s playing of this otherwise commonplace, sentimental tune is uniquely his own; containing his jazz …
Although Clarence Johnson left us no piano solo disc recordings, no band recordings, and only about two dozen vocal accompaniment sides, he still remains one of the most influential artists in the history of Chicago South Side Piano. Unlike Blythe, who was prolific in all forms of recordings, Johnson’s personal playing style is …
This section will present Blythe’s piano roll recordings of popular songs, such as fox trots and waltzes of the day. Frequently, these performances are highly jazz-tinged (even the waltzes) and exhibit Blythe’s characteristic keyboard trademarks. On some, Blythe added hot South Side coda sections to otherwise commonplace tunes, and these are special for …
Collectors interested in the jazz and blues history of Chicago’s South Side of the 1920s have most certainly heard of this enormously gifted and prolific artist. On the merits of his disc recordings alone, he stands as one of the founding fathers of that particular pianistic style known to us as “South Side …
Black Bob sightings are rare birds, so I decided to publish two Black Bob testimoniancies from musicians like Charlie West and Big Joe Duskin.
Let’s start with an interview to Charlie West, first published on “Blues World #44” in 1972 by my friend Bob Eagle.
“Hokum”, as musical term, seems to have come into being (or onto record labels, at least) in the late ‘20s, with recordings by Tampa Red’s Hokum Jug Band, and “Hokum Blues” by the Dallas String Band. From 1929 to 1931 it was something of a craze, with name artists in their own right …
There are some ghost and some blues piano ghost notes in the history of blues music. Musicians of whom nothing or almost nothing is known, but who have left their legacies in just a few 78s. Hidden by their pseudonyms and behind their 88’s , they have scored some of the highest moments …
