"Shreveport Farewell" - Ragged Barrelhouse Blues Piano from Little Brother Montgomery
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Here I am messing around with a great tune from Little Brother Montgomery. He first recorded this in 1936 - part of an epic 1-day session which saw the release of 18 sides, all of which he captured in one take! Shreveport Farewell is a great example of how ragtime and early jazz are important components of the barrelhouse blues sound. This piece uses a striding bass and is not in a 12-bar blues form, and yet, it maintains a definite blues feel. It should be noted that barrelhouse doesn't always have a boogie-woogie feel. Little Brother's versatility and the wide range of influences that make up barrelhouse piano are both well on display in this tune. Shout out to the great Carl Sonny Leyland, who first showed me how to play this tune! Subscribe to my channel to hear and learn more about barrelhouse blues, early boogie-woogie, and other low-down blues piano stylings! For more info about Ethan, visit: http://www.ethanleinwand.com
American jazz and blues pianist and singer. Born: April 18, 1906, Kentwood, Louisiana. Died: September 6, 1985, Champaign, Illinois.
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This clip of Little Brother Montgomery's "Shreveport Farewell" is a rare gem that offers a unique glimpse into the world of barrelhouse blues piano. Recorded in 1936 as part of an impressive one-day session that yielded 18 sides, this tune showcases Montgomery's mastery of the genre and his ability to blend elements of ragtime and early jazz.
One of the most striking aspects of "Shreveport Farewell" is its departure from the traditional 12-bar blues form. Instead, it employs a striding bass line that gives the piece a sense of forward momentum, while still maintaining a distinctly bluesy feel. This approach highlights the versatility of barrelhouse piano and its ability to absorb influences from various musical traditions.
Montgomery's playing style is characterized by his use of complex chord progressions and intricate melodic lines, which are hallmarks of the barrelhouse sound. His ability to balance structure and improvisation is on full display in this clip, as he navigates the tune's intricate rhythms with ease. The result is a performance that is both technically impressive and deeply expressive.
The significance of "Shreveport Farewell" extends beyond Montgomery's individual talents, however. It also serves as a testament to the rich cultural heritage of American music, particularly in the context of the blues. Barrelhouse piano, which emerged in the early 20th century, was a unique fusion of African-American musical traditions and European influences. This clip offers a fascinating glimpse into this world, one that is both deeply rooted in its historical context and remarkably prescient in its innovative spirit.
The fact that Montgomery recorded "Shreveport Farewell" in just one take adds to the clip's allure. It suggests that he was a true master of his craft, able to convey complex musical ideas with ease and precision. This level of technical proficiency is all the more impressive given the relatively primitive recording technology available at the time.
The context provided by the YouTube description offers additional insights into Montgomery's music and its enduring influence. The mention of Carl Sonny Leyland, a renowned pianist who helped introduce Montgomery's music to new generations of players, highlights the clip's value as a teaching tool and a window into the world of early blues piano.
Ultimately, "Shreveport Farewell" is a rare and precious artifact that offers a unique perspective on the development of American music. Its blend of ragtime, jazz, and blues elements makes it a fascinating example of musical cross-pollination, while Montgomery's masterful playing style ensures that the clip remains engaging and compelling even today.
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