as far as we know, this is the first recorded boogie woogie, from 1924, by an early and great Chicago pianist (Chicago Stomp by Jimmy Blythe): https://www.youtube.com/watch?v=LtFfLwcrlZc
he is a fascinating figure who died young. Played with jazz people like Johnny Dodds, also did a lot of recordings with washboard bands. I asked Doc Cheatham about it, as he was in Chicago when Blythe was active; he told me Blythe "was everywhere."
Wonderful article, Vin! Listening to Jimmy Forrest's recording of Night Train - with the triplet timed slap delay, I'm left wondering how unusual that may have been to hear on a saxophone in 1951. Sonically, it seems like it must be one of the things that marks this recording as R&B and definitely not jazz. It seems like the recording engineer or producer is riding the volume of the delay, and that they know the form of the song.
Also, his tenor low Bb is huge and commanding, and with the triplet delay is a major defining part of the performance.
GREAT observations Caleb-- thank you. I completely didn't mention the recording/music tech aspects of Forrests's record, but a proper understanding of its impact has to acknowledge how amazing the record sounds. Thanks for these words, we needed this!
I see. I wrote that "the shuffle gave us the backbeat", which is not true-- by "gave us" I meant that it was recordings of shuffling blues tunes that first featured the backbeat. I'll correct.
The backbeat is absolutely related to the handclap in gospel music. How/when it migrated and the story of that migration I don't yet know, but am hoping to learn. Thanks Sean!
Thank you so much for this! I've been on an Ellington kick for years, decades, now, and it's always nice to hear him and his band get their due. Also, let me say in general that your writing is just excellent--it's really hard to write well about drumming and about jazz and how it all works, and your writing here is spot on. Thanks!
Much appreciated Sam! I do try to make the words mean something. Sometimes it feels like Ellington is basically underrated, which is crazy when we think about the reach and influence of Jazz At Lincoln Center and the Juilliard jazz program. But it just seems true.
as far as we know, this is the first recorded boogie woogie, from 1924, by an early and great Chicago pianist (Chicago Stomp by Jimmy Blythe): https://www.youtube.com/watch?v=LtFfLwcrlZc
Just listened to Blythe's Chicago Stomp, incredible! That recording is nearly 102 years old and speaks to us loud and clear. Blythe was a master.
he is a fascinating figure who died young. Played with jazz people like Johnny Dodds, also did a lot of recordings with washboard bands. I asked Doc Cheatham about it, as he was in Chicago when Blythe was active; he told me Blythe "was everywhere."
Good info, thanks Allen.
Incredible history
I have successfully avoided listening to Oscar Peterson my whole life, but I'll check out 'Night Train'
Thanks, Vinnie!
Think you'll enjoy it...thanks Charles!
As a guitarist/ piano player who dabbles in drumming, I've found a shuffle with good feel a hard thing to play on the drums.
You summed it up. Thanks for the comment!
Wonderful article, Vin! Listening to Jimmy Forrest's recording of Night Train - with the triplet timed slap delay, I'm left wondering how unusual that may have been to hear on a saxophone in 1951. Sonically, it seems like it must be one of the things that marks this recording as R&B and definitely not jazz. It seems like the recording engineer or producer is riding the volume of the delay, and that they know the form of the song.
Also, his tenor low Bb is huge and commanding, and with the triplet delay is a major defining part of the performance.
GREAT observations Caleb-- thank you. I completely didn't mention the recording/music tech aspects of Forrests's record, but a proper understanding of its impact has to acknowledge how amazing the record sounds. Thanks for these words, we needed this!
Have always imagined that the backbeat owes something to the church clapping in gospel. Is that not true?
I see. I wrote that "the shuffle gave us the backbeat", which is not true-- by "gave us" I meant that it was recordings of shuffling blues tunes that first featured the backbeat. I'll correct.
The backbeat is absolutely related to the handclap in gospel music. How/when it migrated and the story of that migration I don't yet know, but am hoping to learn. Thanks Sean!
Thank you! And sorry, wasnt meaning to be annoying. A genuine question about the migration!
Totally! Thanks for the tip, it makes the essay better. Much appreciated.
Sorry! Didn’t mean to be
Thank you so much for this! I've been on an Ellington kick for years, decades, now, and it's always nice to hear him and his band get their due. Also, let me say in general that your writing is just excellent--it's really hard to write well about drumming and about jazz and how it all works, and your writing here is spot on. Thanks!
Much appreciated Sam! I do try to make the words mean something. Sometimes it feels like Ellington is basically underrated, which is crazy when we think about the reach and influence of Jazz At Lincoln Center and the Juilliard jazz program. But it just seems true.
Shuffles are tough! And Oscar Peterson’s album was my gateway into jazz many years ago.
That they are! Thanks Jeff.
Beautiful piece, Vinnie.
Thank you Ted!
My OG pressing of Night Train is one of my prized possessions. No better pianist on earth than OP.