James Edward Yancey was an American boogie-woogie pianist, composer, and lyricist. One reviewer described him as "one of the pioneers of this raucous, rapid-fire, eight-to-the-bar piano style".
West Coast blues is a type of blues music influenced by jazz and jump blues, with strong piano-dominated sounds and jazzy guitar solos, which originated from Texas blues players who relocated to California in the 1940s. West Coast blues also features smooth, honey-toned vocals, frequently crossing into rhythm and blues territory.
Kermit Holden "Pete" Johnson was an American boogie-woogie and jazz pianist.
Joseph Amos Milburn was an American R&B singer and pianist, popular in the 1940s and 1950s. One commentator noted, "Milburn excelled at good-natured, upbeat romps about booze and partying, imbued with a vibrant sense of humour and double entendre, as well as vivid, down-home imagery in his lyrics."
Joseph Christopher Liggins, Jr. was an American R&B, jazz and blues pianist and vocalist who led Joe Liggins and his Honeydrippers in the 1940s and 1950s. His band appeared often on the Billboard magazine charts. The band's biggest hit was "The Honeydripper", released in 1945. Joe Liggins was the older brother of R&B performer Jimmy Liggins.
Charles Edward "Cow Cow" Davenport was an American boogie-woogie and piano blues player as well as a vaudeville entertainer. He also played the organ and sang.
Connie Curtis Crayton, known as Pee Wee Crayton, was an American R&B and blues guitarist and singer.
Mr. B., is an American boogie-woogie pianist.
Arthur "Montana" Taylor was an American boogie-woogie and piano blues pianist, best known for his recordings in the 1940s, and regarded as the leading exponent of the "barrelhouse" style of playing.
Blind John Davis was an American blues and boogie-woogie pianist and singer. He is best remembered for his recordings, including "A Little Every Day" and "Everybody's Boogie".
William Paden Hensley, known as Washboard Willie, was an American Detroit blues musician, who specialised in playing the washboard. He recorded tracks including "A Fool on a Mule in the Middle of The Road" plus "Cherry Red Blues", and worked variously with Eddie "Guitar" Burns, Baby Boy Warren, and Boogie Woogie Red.
Oldie Blues was a Dutch record label founded and owned by Martin van Olderen.
Houseparty is a studio album by American R&B and boogie-woogie pianist and vocalist Little Willie Littlefield.
The Red One is a studio album by American R&B and Boogie-woogie pianist and vocalist Little Willie Littlefield.
I'm in the Mood is a studio album by American R&B and Boogie-woogie pianist and vocalist Little Willie Littlefield.
Malvina My Sweet Woman is an album by American Delta blues guitarist, singer and songwriter Big Joe Williams.
Robbert Arris Jules Agerbeek was an Indo Dutch boogie-woogie and jazz pianist and winner of several jazz concourses in the Netherlands in the late 1950s. He was regarded as one of Europe's finest jazz pianists, covering the full spectrum of jazz styles from his early days of Boogie-woogie to Chicago traditional Jazz, swing and contemporary jazz. Agerbeek gained recognition as a highly regarded accompanist for numerous renowned American jazz musicians who toured and resided in Europe during the 1960s and 1970s. Notable collaborations included performances with Gene Ammons, Art Blakey, Don Byas, Johnny Griffin, Dexter Gordon, Hank Mobley, and Ben Webster. Agerbeek's ability to adapt to different musical styles impressed audiences and critics alike. In the 1980s, he surprised many by transitioning to traditional jazz and joining the Dutch Swing College Band.
Three of a Kind is an album by Dutch boogie-woogie and jazz pianist Rob Agerbeek.
Rob Hoeke was a Dutch singer, pianist, composer and songwriter most famous for his renditions in the field of Boogie-woogie releasing over 20 albums. Besides that he played and recorded in a musical variety of styles ranging from Blues, Soul, Rock and Rhythm & Blues.
Willie Egan was an American rhythm and blues and boogie-woogie pianist, singer, and songwriter. He recorded a string of singles in the mid- to late-1950s, using his "boogie-woogie-tinged R&B" styling to critical, but no real commercial, success. Egan wrote most of his own material, and enjoyed a resurgence of interest in Europe in the early 1980s. Pop historians tend to concur that his lack of tangible success in the 1950s, was down to a combination of lack of national promotion, scarce airplay and poor management. A continual mis-spelling of his own name was a further distraction; even his best remembered track, "Wear Your Black Dress", appeared on a single's B-side.
