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Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Considering how many fine recording sessions he was on in Chicago in the s particularly with Johnny Doddsit is surprising how little is known about the mysterious Jimmy Blythe. He was raised in Kentucky, moved to Chicago inand studied with pianist Clarence Jones. Blythe recorded dozens of piano rolls in the early '20s. Standing In The Light - Shooting Star - III Wishes began cutting records in Blythe 's "Chicago Stomp" from that year is considered by some to be the first full-length boogie-woogie recording.
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Sharing Information With Third Parties 5. Your Security 6. In the January census Jimmy is difficult to locate. He had been living with Effie, but was not present for the census or had moved out of the Wabash Avenue home of his sisters. JonesLacarno & Burns - Departure / Nova was classically trained, but already had some ragtime song successes to his name.
Jones ran his own studio in Chicago's south side. As jazz started to enter the musical lexicon he quickly adapted to it and was able to teach some of the art of performance to Jimmy.
While little else is known of his time in Chicago from toit is likely Jimmy was also exposed to a number of fine pianists and band musicians, and had played in a few public venues.
He set to work recording popular songs and instrumentals of the day at a breakneck pace with increasing originality. Modeling some of his style on what he learned from Jones, Jimmy took the increasingly popular moving octave and boogie bass and applied them to some of the recordings, both for standard home use and Midnight Special - Jimmy Blythe - Moods Of Jimmy Blythe commercial rolls.
While not all of them are properly attributed, it has been estimated that Blythe recorded as many as three hundred Midnight Special - Jimmy Blythe - Moods Of Jimmy Blythe for Columbia, and then for Capital when the company was reorganized in In spite of the limitations of paper rolls which had varying note resolutions, no dynamics, and often only edited sustain pedal punchings, Blythe's excellent performance skills still cut through and his rolls became quite popular.
He was able to take simple popular songs and create an engaging performance from them in short order. Many of these were taken from the simple sheet music and expanded to include blues riffs, stride or boogie-woogie bass, and even pseudo-novelty figures.
Musicians around Chicago and beyond worked to emulate his engaging style as his fame grew. In April Blythe entered the recording studio and started to cut sides for Paramount Records no affiliation with the film company of the same name. Some of his material, including songs written with his friend Alex J.
Robinsonhad already been covered by other artists on that label, so he had a head start. His first tracks, Armour Avenue Struggle and Chicago Stomphad the rolling boogie-woogie blues bass pattern throughout.
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