@@SugarBearMosher Yes that's one feature I've found in some stride that really helps with the feel of the pieces. I'm hoping to get the collection of Lambert transcriptions from Blue Black Jazz soon. I can't wait to take a look at some of those. Pork and Beans especially
@dylan-kerry i learn 99 percent of my stuff from ear but can read sheet music. Some of the more complicated chords I need to see written to learn them. I have to record people will say we're in love, i finally got that down recently
@@SugarBearMosher I can’t do anything by ear. I once spent four hours trying to transcribe Luckey Roberts performance of Railroad Blues and pretty much got nowhere. I can transcribe easy lines played by brass or reed though and have nearly completed a transcription of King Olivers performance of King Porter Stomp. If you know where I could get any transcriptions of Luckey Roberts performances I would be really grateful. I’ve only found the three from BlueBlackJazz at the moment
I don't see a transcription of this on blueblack jazz. Just a transcription of a recordings by some Cliff Jackson. I did mean to buy the Lambert stuff there anyway though. I'll have to get round to that today. Lovely performance here. I love this piece. The ODJB is one of my favourites and this makes me think of them. Great to hear it played in such a style too
This is one of those times when the old cliche "They don't make'm like that anymore" seems very appropriate. What a unique artist and individual. He changed the course of music history.
I’ve heard this tune before many times but I don’t know the name by memory is this “just one of those things”or Gershwin? That right hand following the melody is very nicely paired with the fast stride near the end well played
Nice video bro! You know, it might be a good idea to to use a platform where if you go live on Facebook, it'll also go live on RU-vid so you have all those wonderful uploads here too! Adam Swanson does that for example
I think Eubie Blake mentions legendary Harlem pianist Alberta Simmons at some point. She is also mentioned by Willie "The Lion" Smith in his autobiography. I did not realize until just today that she was Thelonious Monk's first piano teacher!!! Too bad there are no known recordings of her. 😥 en.wikipedia.org/wiki/Thelonious_Monk
I first heard Lambert on the Pumpkin LP's and as an aspiring pianist, was utterly blown away by his playing. I want to thank you for all the material that you have posted here - a dream come true. The breadth of his repertoire is remarkable, as is his amazing ability to toss off effortlessly pieces that one suspects he did not play much - such as that brief and wonderful performance of Cherokee that you posted elsewhere on YT.
The lady pianist whom Eubie Blake mentions at 4:51:10, who was Teddy Wilson's wife, (AFTER talking about legendary unrecorded(?) Harlem pianist Alberta Simmons, who was NOT Teddy Wilson's wife!), was Ms. Irene Eadie (Wilson). She DID make a couple of recordings in Chicago accompanying singers, and she played really well. I don't know if any more than those still exists today. The two sides I know about (there may have been more than this), were both accompanying Eloise Bennett, and were issued on Paramount record 12412. They are: master 2745, take 2: "Love Me Mr. Strange Man" and master 2746, take 1: "Effervescent Daddy". Both dating to circa October 1926. This is an extremely rare record and I imagine very few original copies survive today. However, one of the owners of them allowed Document Records to reissue this on one of their numerous CD compilations, in this case the first volume in their series "Female Blues Singers" (Vol. 1), DOCD-5505. So here are these tracks. "Love Me Mr. Strange Man": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-15FCPWNkNcs.html "Effervescent Daddy": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-phyR9k8xX8g.html On his currently-defunct website "Chicago South Side Piano", webmaster Paolo Fornara had a theory that this was actually James Blythe on piano under pseudonym (probably since he hadn't heard of Irene Eadie before, although I have!) and when I listened to the sides, as a 15+ - year enthusiast of Mr. Blythe's piano style, I would say for certain it is NOT him, but is another pianist with a different style I don't recognize. Therefore, if Ms. Eadie is credited as the pianist on the record label, surely it was her. She doesn't seem to have been famous enough for any record label to use her name as a pseudonym for anyone else, or for any other purpose. I just hope there are other recordings of her out there somewhere: web.archive.org/web/20231003130343/www.chicagosouthsidepiano.com/jimmy-blythe-eloise-bennett/
I will say she DOES show a lot of James Blythe influence in her playing (and probably vice-versa!), as well as a lot of J. Harry ("Mr. Freddie") Shayne's piano style, as well as Jelly Roll Morton, and other 'horn style' pianists of that era. It is no wonder that with this lady as his wife, Teddy Wilson, also became a 'horn style' pianist as well.
Here's her Wikipedia page. Her original name was Violet Irene Armstrong (no relation to Louis, I'm sure), and later she was known as Irene Armstrong Kitchings. She used the last name "E(a)die" as a stage name. Turns out she WAS alive at the time of this interview (she passed in 1975), too bad none of the parties here knew that at the time (although hopefully they found out later? Did Mike Lipskin ever interview her?): en.wikipedia.org/wiki/Irene_Kitchings
That's really cool that Eubie Blake shouts her out as a piano "shark" from a decades-old memory, even if he couldn't remember her name. I think the two recordings back this up; she really plays some excellent things behind Ms. Bennett. If Irene Armstrong (Eadie) was really only 18 when these were recorded (her birth year is in question as to whether it was 1903 or 1908), she was really accomplished at that age, another prodigy along the lines of Vee Lawnhurst. Even if she was 23, it's still great playing by any standard.
TONY!!!! SO GLAD WE WILL ALWAYS HAVE YOU TO WRITE A SWINGING TUNE THAT COULD HAVE COME STRAIGHT OUT OF THE ERA WE LOVE SO MUCH. I AM ON THE MEND AGAIN FROM A MAJOR EMERGENCY SURGERY. I SOMETIMES WONDER IF I CAN GET STRONG AGAIN AND SING.....LISTENING TO YOU INSPIRES ME GREATLY. MIKE PLAYS WUTH ME INSISTING NOT TONGIVE UP HIS GIGS BECAUSE I'M UNDER THE WEATHER. ANYWAY...THIS IS A GREAT COMPOS8TION. DID YOU DO ALL THE ARRANGEMENTS ON THE CHARTS??? YOU'RE SO INCREDIBLY GREAT. HOPE TO SEE YOU LIVE IN VEGAS SOME DAY. BLESS YOU AND YOUR FAMILY. CHEERS, DINAH LEE
