A Left Hand Like God: A History of Boogie-Woogie Piano

by Peter J. Silvester

This is the first history of boogie-woogie piano, the influential style that became a national phenomenon from the late '20s through the 40s. Originating in barrelhouses and entertainment spots that served the black labor force who worked in the lumber and railroad industries throughout the deep south, it could be heard later at rent parties in Chicago, buttet flats in St. Luis, and other black urban centers. When it entered the Cafe Society nightclubs of New York in the 30s, painists such as Albert Ammous, Meade Lux Lewis, and Peter Johnson became international celebrities. Until the early '40s there was a natioal craze for boogie-woogies and almost every big band had a number with that name in the title. In the 50's it faded quickly but not before it had influenced thythm and blues and such distincitve jazz stylists as Earl Hines. this history studies the pattern of its rise and decline, the diversity of its players-from Jimmy Yancey to Axel zwingenberger-and for the first time offers an in-depth look at the musical and social development of this enduring style. Peter J. Silvester, who holds a master's degree fromt he Unviersity of Surrey in England, began to research boogie-woogie in 1980 after he realized that the definitive study had not yet been attempted. This book is the product of his eight years of research.

Genres: Music

238 pages, Paperback

First published November 1, 1988

About the author

Peter J. Silvester, now retired, was a record reviewer for Jazz Journal International and Storyville, and authored liner notes for numerous boogie-woogie records released by Honky Tonk Productions.

Reviews

[Cynthia · Rating 1 out of 5]

This book is a racist piece of trash! The author continually calls music of African origin 'primitive'. He considers it so because it does not adhere to the European model. This book is full of asinine passages such as: "As the boogie-woogie tidal wave swept America, a number of black pianists working with bands or as solo performers also came into prominence but none of them added anything of significance to the evolution of the genre. The best of them was Mary Lou Williams..." Are you FREEKING KIDDING ME?! Nothing of any significance? Mary Lou Williams was one of the greatest most influential boogie woogie piano players that ever existed!
And how about this: "At the turn of the century, ragtime was the most popular form of syncopated music and the search for its roots is just as complex as attempting to trace the genesis of the blues." What two-bit researcher can't find the origins of the blues? The blues came from Negro spirituals to which the words were changed to fit the situation of the post emancipation African Americans. This is common knowledge.
He says that: "Black pianists probably interpreted European tunes of the mid-nineteeth century like 'Old Dan tucker', and the quadrilles and Schottisches brought to America by early settlers, with a predominantly African conception of rhythm in view of their ancestral heritage in that continent." Seriously?
This book is full of racist comments demeaning the contribution of Black people and attributing the success of boogie woogie to white piano teachers, white musicians and white composers. Skip this trash, you can find more accurate history of this great music on Wikipedia.

[Diane Dunham · Rating 3 out of 5]

Could not get through the entire book. A little too boring and slow for me.

[Roddy · Rating 5 out of 5]

A classic on the history and players of Boogie-Woogie piano. My struggle to play it fluently goes on......