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Boogie-woogie
Boogie-woogie is a genre of blues music that became popular
during the late 1920s, developed in African-American Boogie-woogie
communities in the 1870s.[1] It was eventually extended from Stylistic Blues
piano, to piano duo and trio, guitar, big band, country and origins
western music, and gospel. While standard blues traditionally Cultural Late 19th century,
expresses a variety of emotions, boogie-woogie is mainly origins Piney Woods of
associated with dancing[2] and Boogie-woogie dance. The
Northeast Texas, U.S.
genre had a significant influence on rhythm and blues and rock
and roll. Derivative Rock and roll ·
forms rockabilly ·
rhythm and blues

Contents Fusion genres

Jump blues · boogie rock
Musical features
History
1870s–1930s
"Fast Western" connection to Marshall and Harrison
County, Texas
Railroad connection to Marshall and Harrison
County, Texas
Texas and Pacific Railway stops associated with
names for boogie-woogie left-hand bass lines
Marshall and Harrison County Texas and the origin
of boogie-woogie
Development of modern boogie-woogie
1930s to 1940s: Carnegie Hall and swing
Derivative forms
See also
References
Further reading

Musical features
Boogie-woogie is characterized by a regular left-hand bass figure, which is transposed following the
chord changes.

Play 

Boogie-woogie is not strictly a solo piano style; it can accompany singers and be featured in
orchestras and small combos. It is sometimes called "eight to the bar", as much of it is written in
common time (4
4) time using eighth notes (quavers) (see time signature). The chord progressions
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are typically based on I–IV–V–I (with many formal variations of it, such as I/i–IV/iv–v/I, as
well as chords that lead into these ones).

For the most part, boogie-woogie tunes are twelve-bar blues, although the style has been applied to
popular songs such as "Swanee River" and hymns such as "Just a Closer Walk with Thee".

Typical boogie-woogie bassline:

Play 

History

1870s–1930s

Several African terms have been suggested as having some interesting linguistic precursors to
"boogie": Among them are the:

1. Hausa word "Boog", and

2. Mandingo word "Booga" (both of which mean "to beat", as in beating a drum)
3. West African word "Bogi" (which means "to dance")[3]
4. Bantu term "Mbuki Mvuki" (Mbuki: "to take off in flight"; Mvuki: "to dance wildly, as if to shake
off one's clothes").[4]

The African origin of these terms is consistent with the African-American origin of the music.

In sheet music literature prior to 1900, there are at least three examples of the word "boogie" in
music titles in the archives of the Library of Congress.[5] In 1901, "Hoogie Boogie" appeared in the
title of published sheet music, the first known instance where a redoubling of the word "Boogie"
occurs in the title of published music. (In 1880, "The Boogie Man" had occurred as the title of
published music.) The first use of "Boogie" in a recording title appears to be a "blue cylinder"
recording made by Edison of the "American Quartet" performing "That Syncopated Boogie Boo" in
1913.[6] The Oxford English Dictionary states that the word is a reduplication of boogie, which was
used for "rent parties" as early as 1913.

"Boogie" next occurs in the title of Wilbur Sweatman's April 1917 recording of "Boogie Rag". None
of these sheet music or audio recording examples contain the musical elements that would identify
them as boogie-woogie. The 1919 recordings (two takes) of "Weary Blues" by the Louisiana Five
contained the same boogie-woogie bass figure as appears in the 1915 "Weary Blues" sheet music by
Artie Matthews. Tennison has recognized these 1919 recordings as the earliest sound recordings
which contain a boogie-woogie bass figure.

Blind Lemon Jefferson used the term "Booga Rooga" to refer to a guitar bass figure that he used in
"Match Box Blues".[7] Jefferson may have heard the term from Huddie "Lead Belly" Ledbetter, who
played frequently with Jefferson. Lead Belly, who was born in Mooringsport, La., and grew up in
Harrison County, Texas, in the community of Leigh, said he first heard boogie-woogie piano in the
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Caddo Lake area of northeast Texas in 1899.[8]

He said it influenced his guitar-playing. Lead Belly
also said he heard boogie-woogie piano in the Fannin Street district of Shreveport, Louisiana.
Some of the players he heard were Dave Alexander, who recorded for Decca in 1937 as "Black Ivory
King",[9] and a piano player called Pine Top (not Pine Top Smith, who was not born until 1904, but
possibly Pine Top Williams or Pine Top Hill.)[8][10] Lead Belly was among the first guitar-players to
adapt the rolling bass of boogie-woogie piano.

Texas, as the state of origin, became reinforced by Jelly Roll Morton, who said he heard the boogie
piano style there early in the 20th century, as did Leadbelly and Bunk Johnson, according to
Rosetta Reitz.[11]

The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio
recording of music appears to be Pine Top Smith's December 1928 recording titled "Pine Top's
Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie".[12]

The earliest documented inquiries into the geographical origin of boogie-woogie occurred in the
late 1930s when oral histories from the oldest living Americans of both African and European
descent revealed a broad consensus that boogie-woogie piano was first played in Texas in the early
1870s. Additional citations place the origins of boogie-woogie in the Piney Woods of northeast
Texas.

The first Negroes who played what is called boogie-woogie, or house-rent music, and
attracted attention in city slums where other Negroes held jam sessions, were from
Texas. And all the Old-time Texans, black or white, are agreed that boogie piano players
were first heard in the lumber and turpentine camps, where nobody was at home at all.
The style dates from the early 1870s.[1]

— Elliot Paul, That Crazy American Music (1957)

"Fast Western" connection to Marshall and Harrison County, Texas

Max Harrison (in the book Jazz edited by Hentoff and McCarthy in 1959) and Mack McCormick (in
the liner notes to his Treasury of Field Recordings, Vol. 2) concluded that "Fast Western" was the
first term by which boogie-woogie was known. He stated that "in Houston, Dallas, and Galveston —
all Negro piano players played that way. This style was often referred to as a 'fast western' or 'fast
blues' as differentiated from the 'slow blues' of New Orleans and St. Louis. At these gatherings the
ragtime and blues boys could easily tell from what section of the country a man came, even going
so far as to name the town, by his interpretation of a piece."[13]

According to Tennison, when he interviewed Lee Ree Sullivan in Texarkana in 1986, Sullivan told
him that he was familiar with "Fast Western" and "Fast Texas" as terms to refer to boogie-woogie
in general, but not to denote the use of any specific bass figure used in boogie-woogie. Sullivan said
that "Fast Western" and "Fast Texas" were terms that derived from the Texas Western Railroad
Company of Harrison County.[14] The company was chartered on February 16, 1852 and changed
its name to "Southern Pacific" in 1856. It built its first track from Marshall, Texas Swanson's
Landing at Caddo Lake in 1857.[15] (This Texas-based "Southern Pacific" was not connected to the
more well known Southern Pacific originating in San Francisco, California.) The Southern Pacific
of Texas was bought by the newly formed Texas and Pacific Railway on March 21, 1872.[16]

Although the Texas Western Railroad Company changed its name to Southern Pacific, Sullivan said
the name "Texas Western" stuck among the slaves who constructed the railroad.[14]

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Railroad connection to Marshall and Harrison County, Texas

A key to identifying the geographical area in which boogie-woogie originated is understanding the
relationship of boogie-woogie music with the steam railroad, both in the sense of how the music
might have been influenced by sounds associated with the arrival of steam locomotives as well as
the cultural impact the sudden emergence of the railroad might have had.

The railroad did not arrive in northeast Texas as an extension of track from existing lines from the
north or the east. Rather, the first railroad locomotives and iron rails were brought to northeast
Texas via steamboats from New Orleans via the Mississippi and Red Rivers and Caddo Lake to
Swanson's Landing, located on the Louisiana/Texas state line. Beginning with the formation of the
Texas Western Railroad Company in Marshall, Texas, through the subsequent establishment in
1871 of the Texas and Pacific Railway company, which located its headquarters and shops there,
Marshall was the only railroad hub in the Piney Woods of northeast Texas at the time the music
developed. The sudden appearance of steam locomotives and the building of mainline tracks and
tap lines to serve logging operations was pivotal to the creation of the music in terms of its sound
and rhythm. It was also crucial to the rapid migration of the musical style from the rural barrel
house camps to the cities and towns served by the Texas and Pacific Railway Company.

"Although the neighboring states of Arkansas, Louisiana, and Missouri would also produce boogie-
woogie players and their boogie-woogie tunes, and despite the fact that Chicago would become
known as the center for this music through such pianists as Jimmy Yancey, Albert Ammons, and
Meade "Lux" Lewis, Texas was home to an environment that fostered creation of boogie-style: the
lumber, cattle, turpentine, and oil industries, all served by an expanding railway system from the
northern corner of East Texas to the Gulf Coast and from the Louisiana border to Dallas and West
Texas."[17] Alan Lomax wrote: "Anonymous black musicians, longing to grab a train and ride away
from their troubles, incorporated the rhythms of the steam locomotive and the moan of their
whistles into the new dance music they were playing in jukes and dance halls. Boogie-woogie
forever changed piano playing, as ham-handed black piano players transformed the instrument
into a polyrhythmic railroad train."[18]

In the 1986 television broadcast of Britain's The South Bank Show about boogie-woogie, music
historian Paul Oliver noted: "Now the conductors were used to the logging camp pianists clamoring
aboard, telling them a few stories, jumping off the train, getting into another logging camp, and
playing again for eight hours, barrel house. In this way the music got around—all through Texas—
and eventually, of course, out of Texas. Now when this new form of piano music came from Texas,
it moved out towards Louisiana. It was brought by people like George W. Thomas, an early pianist
who was already living in New Orleans by about 1910 and writing "New Orleans Hop Scop Blues",
which really has some of the characteristics of the music that we came to know as Boogie."[3]

Paul Oliver also wrote that George W. Thomas "composed the theme of the New Orleans Hop Scop
Blues — in spite of its title — based on the blues he had heard played by the pianists of East
Texas."[19] On February 12, 2007, Oliver confirmed to John Tennison that it was Sippie Wallace
who told Oliver that performances by East Texas pianists had formed the basis for George
Thomas's "Hop Scop Blues".[20]

Brothers George Thomas and Hersal Thomas migrated from Texas to Chicago and brought boogie-
woogie with them, influencing a number of pianists, including Jimmy Yancey, Meade Lux Lewis,
and Albert Ammons. Many elements now recognized as foundational elements of boogie-woogie
are present in their 1922 song "The Fives".

Texas and Pacific Railway stops associated with names for boogie-woogie left-hand bass
lines

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Early generation boogie-woogie players recognized basic boogie-woogie bass lines by geographical
locations with which they associated them. Lee Ree Sullivan identified a number of these left hand
bass lines for Tennison in 1986.[14] From the primitive to the complex, those identifications
indicate that the most primitive form of the music was associated with Marshall, Texas – and that
the left-hand bass lines grew more complex as the distance from Marshall increased.

The most primitive of these left hand bass lines is the one that was called "the Marshall". It is a
simple, four-beats-to-the-bar figure The second-most primitive bass-line, called "the Jefferson", is
also four-beats-to-the-bar, but goes down in pitch on the last note in each four-note cycle. It has
been suggested that this downturn in pitch reveals a possible New Orleans influence. Jefferson,
Texas, about 17 miles north of Marshall, was the westernmost port of a steamboat route that
connected to New Orleans via Caddo Lake, the Red River, and the Mississippi River.[21]

The remaining bass lines rise in complexity with distance from Marshall, Texas as one would
expect variations and innovations would occur as the territory in which the music has been
introduced expands.

Marshall and Harrison County Texas and the origin of boogie-woogie

In January 2010, John Tennison summarized his research into the origins of boogie-woogie with
the conclusion that Marshall, Texas is "the municipality whose boundaries are most likely to
encompass or be closest to the point on the map which is the geographic center of gravity for all
instances of Boogie Woogie performance between 1870 and 1880".

Tennison states: "Given the account of Elliot Paul, and given that Lead Belly witnessed boogie-
woogie in 1899 in the Arklatex; and given the North to South migration of the Thomas family; and
given the Texas & Pacific headquarters in Marshall in the early 1870s; and given that Harrison
County had the largest slave population in the state of Texas; and given the fact that the best-
documented and largest-scale turpentine camps in Texas did not occur until after 1900 in
Southeast Texas, it is most probable that boogie-woogie spread from Northeast to Southeast Texas,
rather than from Southeast to Northeast Texas, or by having developed diffusely with an even
density over all of the Piney Woods of East Texas. It would not be surprising if there was as yet
undiscovered evidence of the earliest boogie-woogie performances buried (metaphorically or
literally) in Northeast Texas."

On May 13, 2010, the Marshall City Commission enacted an official declaration naming Marshall
as the "birthplace" of boogie-woogie music, and embarked on a program to encourage additional
historical research and to stimulate interest in and appreciation for the early African-American
culture in northeast Texas that played a vital role in creating boogie-woogie music.[22] "Birthplace
of Boogie Woogie" was registered by the Marshall Convention and Visitors on June 21, 2011.

Development of modern boogie-woogie

A song titled "Tin Roof Blues" was published in 1923 by the Clarence Williams Publishing
Company. Compositional credit is given to Richard M. Jones. The Jones composition uses a boogie
bass in the introduction with some variation throughout. In February 1923, Joseph Samuels'
Tampa Blue Jazz Band recorded the George W. Thomas number "The Fives" for Okeh Records,
considered the first example of jazz band boogie-woogie.

Jimmy Blythe's recording of "Chicago Stomps" from April 1924 is sometimes called the first
complete boogie-woogie piano solo record.

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The first boogie-woogie hit was "Pinetop's Boogie Woogie" by Pinetop Smith, recorded in 1928 and
first released in 1929. Smith's record was the first boogie-woogie recording to be a commercial hit,
and helped establish "boogie-woogie" as the name of the style. It was closely followed by another
example of pure boogie-woogie, "Honky Tonk Train Blues" by Meade Lux Lewis, recorded by
Paramount Records(1927), first released in March 1930. The performance emulated a railroad trip,
perhaps lending credence to the "train theory".

1930s to 1940s: Carnegie Hall and swing

Boogie-woogie gained further public attention in 1938, thanks to the From Spirituals to Swing
concert in Carnegie Hall promoted by record producer John Hammond.[2] The concert featured
Big Joe Turner and Pete Johnson performing Turner's tribute to Johnson, "Roll 'Em Pete", as well
as Meade Lux Lewis performing "Honky Tonk Train Blues" and Albert Ammons playing "Swanee
River Boogie". "Roll 'Em Pete" is now considered to be an early rock and roll song.

These three pianists, with Turner, took up residence in the Café Society night club in New York City
where they were popular with the sophisticated set. They often played in combinations of two and
even three pianos, creating a richly textured piano performance.

After the Carnegie Hall concert, it was only natural for swing bands to incorporate the boogie-
woogie beat into some of their music. Tommy Dorsey's band recorded an updated version of "Pine
Top's Boogie Woogie" in 1938, which (as "Boogie Woogie") became a hit in 1943 and 1945,[23] and
was to become the swing era's second best seller, only second to Glenn Miller's "In the Mood". In
1939, at the suggestion of Columbia Records producer John Hammond, Harry James recorded the
singles Boo-Woo and Woo-Woo with Pete Johnson and Albert Ammons.[24] Also from 1939, the
Will Bradley orchestra had a string of boogie hits such as the original versions of "Beat Me Daddy
(Eight To The Bar)" and "Down the Road a Piece", both 1940, and "Scrub Me Mamma With A
Boogie Beat", in 1941. That same year, The Andrews Sisters had a top 10 hit single with their
recording of "Boogie Woogie Bugle Boy".

The popularity of the Carnegie Hall concert meant work for many of the fellow boogie players and
also led to the adaptation of boogie-woogie sounds to many other forms of music. Tommy Dorsey's
band had a hit with "T.D.'s Boogie Woogie" as arranged by Sy Oliver, and soon there were boogie-
woogie songs, recorded and printed, of many different stripes. These included most famously, in
the big-band genre, the ubiquitous "Boogie Woogie Bugle Boy", which was revamped by Christina
Aguilera as her 2006 hit, "Candyman".[25]

Derivative forms
The boogie-woogie fad lasted from the late 1930s into the early 1950s,[26] and made a major
contribution to the development of jump blues and ultimately to rock and roll, epitomized by Fats
Domino, Little Richard and Jerry Lee Lewis. Louis Jordan is a famous jump blues musician.
Boogie-woogie is still to be heard in clubs and on records throughout Europe and North America.
Big Joe Duskin displayed on his 1979 album, Cincinnati Stomp, a command of piano blues and
boogie-woogie, which he had absorbed at first hand in the 1940s from Albert Ammons and Pete
Johnson.[27]

The trickle of what was initially called hillbilly boogie, or Okie boogie (later to be renamed country
boogie), became a flood beginning around late 1945. One notable country boogie song from this
period was the Delmore Brothers' "Freight Train Boogie". More representative examples can be
found in some of the songs of Western swing pioneer Bob Wills. The hillbilly boogie period lasted
into the 1950s, the last recordings of this era were made by Tennessee Ernie Ford with Cliffie Stone

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and his orchestra with the guitar duo Jimmy Bryant and Speedy West. Bill Haley and the
Saddlemen recorded "Sundown Boogie" in 1952, which once again featured the guitar playing the
boogie-woogie rhythm.

Boogie-woogie continued in country music through the end of the 20th century. The Charlie
Daniels Band (whose earlier tune "The South's Gonna Do It Again" uses boogie-woogie influences)
released "Boogie Woogie Fiddle Country Blues" in 1988, and three years later in 1991 Brooks &
Dunn had a huge hit with "Boot Scootin' Boogie".[28] In addition, some tradition-minded country
artists, such as Asleep at the Wheel, Merle Haggard, and George Strait, incorporated boogie-
woogie in their recordings.

In the many styles of blues, especially Chicago blues and (more recently) West Coast blues, some
pianists and guitarists were influenced by, and employed, the traditional boogie-woogie styles.
Some of the earliest and most influential were Big Maceo Merriweather and Sunnyland Slim. Otis
Spann and Pinetop Perkins, two of the best-known blues pianists, are heavily boogie-woogie
influenced, with the latter taking both his name and signature tune from Pinetop Smith.

In Western classical music, the composer Conlon Nancarrow was also deeply influenced by boogie-
woogie, as many of his early works for player piano demonstrate. "A Wonderful Time Up There" is
a boogie-woogie gospel song. In 1943, Morton Gould composed Boogie-Woogie Etude for classical
pianist José Iturbi, who premiered and recorded it that year. Povel Ramel's first hit in 1944 was
Johanssons boogie-woogie-vals where he mixed boogie-woogie with waltz. 21st-century
commentators have also noted the characteristics of boogie-woogie in the third variation of the
second movement of Ludwig van Beethoven's Piano Sonata No. 32, written between 1821 and
1822.[29]

See also
Boogie
List of boogie woogie musicians

References
1. Paul, Elliot, That Crazy American Music (1957), Chapter 10, p. 229.
2. Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (https://archive.org/details/illustra
tedencyc0000unse_j5o2/page/164/mode/2up) (1st ed.). Fulham, London: Flame Tree
Publishing. p. 165. ISBN 1-904041-96-5.
3. The South Bank Show (UK television series), episode on Boogie Woogie, 1986, with
commentary by Paul Oliver.
4. They Have a Word for It: A Lighthearted Lexicon of Untranslatable Words and Phrases, by
Howard Rheingold, Published 2000 by Sarabande Books.
5. Liner Notes (p. 20), written by Jean-Christophe Averty, for CD album, Original Boogie Woogie
by Claude Bolling, 1968, Universal Music S.A.S., France.
6. "CONTENTdm Collection : Item Viewer" (http://digilib.syr.edu/cdm4/item_viewer.php?CISORO
OT=/cylinder&CISOPTR=179&CISOBOX=1&REC=1). Digilib.syr.edu. Retrieved 2016-10-05.
7. Price, Sammy, What Do They Want? (autobiography), 1990, University of Illinois Press.
8. Borneman, Ernest, Chapter 2. "Boogie Woogie" (pp. 13–40), in Sinclair Traill and The Hon
Gerald Lascelles (eds), Just Jazz, published 1957 for Peter Davies Ltd by The Windmill Press,
Kingswood, Surrey, UK.
9. Tomko, Gene (2020). Encyclopedia of Louisiana Musicians: Jazz, Blues, Cajun, Creole,
Zydeco, Swamp Pop, and Gospel (https://books.google.com/books?id=5ZKzDwAAQBAJ).
Baton Rouge: Louisiana State University Press. p. 270. ISBN 9780807169322.

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10. Russell, Ross, "Illuminating The Leadbelly Legend", Down Beat, August 6, 1970, Vol. 37, No.
15.
11. Liner Notes by Rosetta Reitz for Album: Boogie Blues: Women Sing and Play Boogie Woogie,
1983, Rosetta Records, New York, NY.
12. "Home : Oxford English Dictionary" (https://www.oed.com/start;jsessionid=5148C80477C409D
88F9AA163E493F4F0?authRejection=true&url=%2Fview%2FEntry%2F21408%3FredirectedFr
om%3Dboogie-woogie). www.oed.com. Retrieved 2020-01-17.
13. Campbell, E. Simms Campbell, Jazzmen: The Story of Hot Jazz Told in the Lives of the Men
Who Created It, 1939, Chapter 4: "Blues", pp. 112–113.
14. Interview with Lee Ree Sullivan, Boogie Woogie pianist, 1986, Texarkana, AR-TX, by John
Tennison and Alfred Tennison, Jr.
15. "TEXAS WESTERN RAILROAD | The Handbook of Texas Online| Texas State Historical
Association (TSHA)" (https://tshaonline.org/handbook/online/articles/eqt20). Tshaonline.org.
Retrieved 2016-10-05.
16. Werner, George C. "Texas Western Railroad" (https://www.tshaonline.org/handbook/entries/tex
as-western-railroad). Handbook of Texas Online. Texas State Historical Association. Retrieved
6 April 2021.
17. David Oliphant, Texan Jazz, University of Texas Press, 1996, p. 75.
18. Alan Lomax, Chapter 4, Lonesome Whistles, p. 170, The Land Where the Blues Began, New
York, NY:The New Press, 1993.
19. Oliver, Paul, The Story of the Blues, London, 1969, p. 85.
20. Interview with Paul Oliver by John Tennison, February 12, 2007.
21. "JEFFERSON, TX (MARION COUNTY) | The Handbook of Texas Online| Texas State
Historical Association (TSHA)" (https://tshaonline.org/handbook/online/articles/hgj02).
Tshaonline.org. Retrieved 2016-10-05.
22. Lee Hancock, Dallas Morning News, June 18, 2010.
23. Gilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (http
s://digital.library.unt.edu/explore/partners/UNTML/browse/?start=2&fq=untl_collection%3AJGP
C) (audiobook). ISBN 978-1-55935-147-8. OCLC 31611854 (https://www.worldcat.org/oclc/316
11854). Tape 2, side A.
24. Levinson, Peter (1999). Trumpet Blues - The Life of Harry James (https://archive.org/details/tru
mpetblueslife00levi). p. 60 (https://archive.org/details/trumpetblueslife00levi/page/60). ISBN 0-
19-514239-X.
25. "Christina Aguilera - Candyman (Official Music Video)" (https://www.youtube.com/watch?v=-Scj
ucUV8v0). YouTube. Archived (https://ghostarchive.org/varchive/youtube/20211117/-ScjucUV8
v0) from the original on 2021-11-17. Retrieved March 31, 2021.
26. Palmer, Robert, Deep Blues, 1981, p. 130.
27. Russell, Tony (1997). The Blues: From Robert Johnson to Robert Cray. Dubai: Carlton Books
Limited. p. 108. ISBN 1-85868-255-X.
28. "Brand New Man by Brooks & Dunn" (http://www.cmt.com/artists/az/brooks_and_dunn/25957/a
lbum.jhtml). Cmt.com. 1991-01-01. Retrieved 2016-10-05.
29. Denk, Jeremy (2012). Ligeti / Beethoven (booklet). Jeremy Denk. Nonesuch Records.

Further reading
Silvester, Peter (2009/1988). The Story of Boogie-Woogie: A Left Hand Like God. Da Capo
Books. ISBN 0-8108-6924-1.

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